OMRON is Building An Intelligent Drainage System to prevent urban flooding worldwide; regions prone to frequent typhoons and heavy rainfall experience heightened flood risks. Even Dubai’s freak rain, whether through cloud seeding or otherwise, could be of some interest
Building An Intelligent Drainage System to Prevent Urban Flooding
24 April 2024
In recent years, the escalation of extreme weather phenomena worldwide, fueled by ongoing global warming, has exacerbated climate disasters such as flooding.
Across the world, regions prone to frequent typhoons and heavy rainfall experience heightened flood risks. Many cities struggle to cope with sudden heavy precipitation due to deficiencies in their drainage infrastructure, resulting in problems such as waterlogged streets and flooded subway stations. Residents suffer from many inconveniences, including risks of property damage and injuries.
As a global leader in the field of automation, OMRON has long been committed to creating”innovation driven by social needs” through automation to empower people. In response to the pressing issue of urban flooding, OMRON is actively exploring innovative solutions to preserve the ecological balance of the earth and promote sustainable development of society.
Navigating the Urgency of Urban Drainage
According to recent statistics, flooding has affected 52.789 million people in China throughout the year, resulting in direct economic losses totaling 244.57 billion RMB.
In order to mitigate flooding impacts, the Chinese authorities advocate for accelerating the establishment of a comprehensive urban drainage and flood prevention system that emphasizes ‘source reduction, pipeline discharge, integrated storage and drainage, as well as emergency response protocols.’
Leveraging its three-decade presence in China, OMRON aims to contribute to flood prevention in Chinese cities by establishing a comprehensive intelligent urban drainage system, drawing upon its expertise in the field of automation.
Exploring the Causes of Waterlogging
To address the drainage and flood prevention challenges in City H, OMRON made collaborative efforts with relevant departments to ensure alignment on the construction of an effective drainage system.
OMRON started with the tunnel industry based on its mature business operation and technical expertise in the field. Through extensive technical discussions and consultations with design institutes, owners, and partners, OMRON identified the urgent need to prevent and reduce urban tunnel flooding through enhancing the intelligentization and digitalization of urban tunnels and supporting drainage pumping stations.
Creating ‘Tools’ to Strengthen Integration
During the construction, OMRON conducted in-depth research to achieve data sharing, early scientific warning, and integrated multi-party management of the intelligent drainage system.
“However, in China, there are limited proven cases of urban intelligent drainage systems.” As the head of the Smart City Division, Zhu Liuqiao was under pressure. “Our team not only had to fully communicate with multiple stakeholders, but also encountered technical challenges such as solution formulation, software development, and hardware development.”
Zhu Liuqiao continued, “But we were not discouraged. Everyone brimmed with confidence and responded actively. Leveraging our expertise in presenting professional proposals and rich experiences in project innovation, we facilitated multiple discussions with stakeholders and reached a consensus on the approach to resolving the issues.” The primary challenges in software design stem from the large number of devices and the absence of standardized interface protocols in intelligent drainage systems. “We engaged in extensive discussions and repeated technical testing with partners to ensure the stability, reliability, and security of the intelligent drainage system.” In terms of hardware, the team supplemented third-party system hardware, established selection principles, and conducted multidimensional evaluations of system requirements, finally enabling the successful development of the urban intelligent drainage system. “Now, all our efforts have paid off, and everyone is filled with excitement!”
During the implementation of the intelligent drainage system, OMRON fully leveraged its strengths in sensing, control, AI, and other technologies, offering core technical support for the urban tunnel management platform through data services and value creation. To mitigate and prevent future disasters in City H, OMRON has implemented the following measures to tackle the existing challenges of low integration and decentralized management in the drainage system:
Platform scheduling and remote coordination allows the intelligent management of the drainage system, enabling real-time monitoring of drainage facilities and timely response to problem-solving, thereby improving overall efficiency.
Through measures such as energy conservation, emission reduction, optimization of resource allocation, OMRON has achieved a 30% reduction in operating costs, resulting in improvements in economic efficiency and environmental protection.
Automated management of 51 drainage pumping stations in City H has been accomplished through the utilization of automation control and remote monitoring technology, thus optimizing human resources while improving operation efficiency and management standards.
A comprehensive monitoring and warning system provides full-scale supervision of the urban drainage network, promptly detecting and alerting potential risks and hazards to safeguard the safety of residents and their property.
Intelligent Drainage Management Platform Built by OMRON
Ushering in the Era of Smart Cities
The project aims for City H to become ‘intelligent’, ‘green’, ‘efficient’, and ‘safe’, promoting a more scientific approach to urban flooding prevention management while greatly reducing operational costs. Intelligent management systems have been implemented in urban tunnels and drainage pumping stations alongside continuous early warning monitoring to enable precise flood prevention measures. By utilizing OMRON’s technology and scientific early warning, Cities like City H have successfully transitioned from automated management to intelligent and digital management in urban infrastructure construction to achieve efficient flood prevention.
Urban Tunnel Drainage
Reflecting on the successful application of OMRON’s Intelligent Urban Drainage Solution in City H, Zhu Liuqiao, head of the Smart City Division, commented, ‘OMRON is committed to helping cities achieve intelligent and sustainable drainage management through innovative technologies and comprehensive solutions. We strive to not only address current challenges but also lay the groundwork for future urban development. We hope that our efforts in effectively addressing challenges such as climate change and environmental protection will make our city a better place to live.’
The development of intelligent urban drainage system is an ongoing journey that requires continuous exploration and innovation. In the future, OMRON is dedicated to implementing its new long-term vision ‘Shaping the Future 2030’ and adhering to its corporate philosophy of ‘Contributing to a Better Society’. OMRON will continue to optimize intelligent urban drainage solutions and applications, promote sustainable development of cities, and improve people’s lives.
A new first-ot-its-kind green cement plant in Redding, California, has 70% lower emissions than conventional cement production. Fortera, CC BY-ND
Aside from water, concrete is the most-used material in the world, with about 14 billion cubic metres being used every year. Of that, 40% of that is used to build places for people to live.
If you were to pour that amount of concrete to make a paving slab ten centimetres thick, it would cover all of England and about half of Wales. In the US, the same amount would cover the state of New York.
But concrete production releases carbon dioxide (CO₂), one of the greenhouse gases that drives climate change. About 90% of emissions associated with concrete come from the production of Portland cement – this fine grey powder, the part that binds concrete ingredients together, was named after its resemblence to stone from the Isle of Portland, Dorset. Portland cement accounts for 7%-8% of the world’s direct CO₂ emissions.
Production of a more sustainable and cost-effective low-carbon cement, often nicknamed “green” cement, is scaling up. A new plant next to an existing cement plant in Redding, California, will produce about 15,000 tonnes of low-carbon cement every year. This could be used to make about 50,000 cubic metres of concrete, which is less than 0.0004% of the world’s concrete production.
At Redding, materials technology company Fortera turns CO₂ captured during conventional cement production into ready-to-use green cement, a form of calcium carbonate. This could reduce carbon emissions of cement by 70% on a tonne-for-tonne basis, according to Fortera.
A concrete issue
People have been using concrete for more than 2,000 years, by blending gravel, sand, cement, water and, sometimes, synthetic chemicals. It’s used to create everything from paths and bridges to buildings and pipes.
Cement production is an energy-intensive process and the greenhouse gas emissions are hard to cut. When limestone is heated in a kiln, often fuelled by coal, nearly half that limestone is lost as CO₂ emissions.
This happens because limestone (calcium carbonate) breaks down in heat to form clinker, a mix of calcium oxide and CO₂. For every tonne of ordinary Portland cement made, 0.6-0.9 tonnes of CO₂ are released into the atmosphere.
So many industries rely on this material. The main challenge facing the cement industry is reducing CO₂ emissions at the same time as meeting global demand.
So as well as developing new technologies, low-carbon cement production must be established on a global scale to meet infrastructural needs required of economically developing nations.
Low-carbon alternatives
Other ways to reduce the carbon footprint of concrete include using fly ash (a by-product from burning coal in power plants) or slag (a by-product from steel production) to partially replace Portland cement.
However, sources of these materials will reduce as other industries decarbonise. Over time, less iron ore will be used to produce steel as more steel is produced from recycling existing steel, so there’ll be less available slag.
Current strategies for decarbonising cement and concrete rely heavily on using carbon capture and storage technology to capture unavoidable process emissions from cement plants.
So low-carbon cement production doesn’t have to involve replacing every cement production plant in operation. Low-carbon cement facilities can be retrofitted to capture CO₂ emissions released from manufacturing conventional cement. Plants can also use that captured CO₂ within the cement that they are producing or as a product for the food and chemical industries.
In Norway, Heidelberg Materials are building an industrial-scale carbon capture and storage plant at a cement facility that could capture and store an estimated 400,000 tonnes of CO₂ per year – that’s half the existing plant’s emissions.
Greenhouse gas emissions in the cement sector are regulated by the EU’s emissions trading system. This was established to make polluters pay for their greenhouse gas emissions, reduce emissions and generate revenues to finance the green transition.
This legislation has not significantly reduced carbon emissions in the cement sector over the past decade, according to the International Energy Agency, mainly due to free emissions allowances being granted to cement manufacturers.
Despite sustained healthy profits in the cement industry, there hasn’t been enough investment in the widespread uptake of cleaner technologies and the sustainable use of materials. Greater financial incentives could help whereby companies have to pay for emissions associated with the production of cement.
Fortera is the only company directly capturing carbon emissions from cement production to make a pure low-carbon cement binder like this. Fortera, CC BY-ND
As a design engineer, I appreciate that material choice and good design play a major role in the sustainability credentials of construction. Before low-carbon cement technology becomes more widespread, engineers, designers and builders can use construction materials more efficiently and choose products with lower embodied carbon – that’s carbon emissions released during the life cycle of building materials, from extraction through to disposal.
This approach could easily save 20% in embodied emissions associated with new building design.
Some governments could move towards only permitting the use of low-carbon cement. In Ireland, the Climate Action Plan 2024 requires that low-carbon construction methods and low-carbon cement are specified where possible for government-procured or government-supported construction projects.
Could all cement in the future be low-carbon or “green”? How “low-carbon” is defined will play a very important part in how this is translated into practice in the industry.
Retrofitting technology to large-scale existing cement production plants will prove that it’s technically possible to produce low-carbon cement efficiently at scale. With the right incentives in place by governments and the construction sector, almost all cement produced around the world could be low-carbon.
The Top 11 most aesthetically-pleasing projects in Saudi Arabia were exclusively collected and published by Construction Week online. An eye-opener to say the least on this special day. Here there are.
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Top 11 most aesthetically-pleasing projects in Saudi Arabia
EXCLUSIVE: Exploring the influence of Islamic architecture in the kingdom, including how architects are approaching designs for modern developments.
Over the past few years, Saudi architects have garnered attention for their bold exploration of engineering and design frontiers, resulting in awe-inspiring structures that draw visitors from around the globe.
With the Vision 2030 goal only six years away, the construction boom in Saudi Arabia is leaving international observers spellbound. While oil, the invaluable resource forged through millennia of geological processes, remains synonymous with the nation’s wealth and prosperity, the contemporary landscape reflects a fusion of luxury and technological advancements.
However, the historical evolution of the region tells a different story, especially with a pronounced focus on Salmani architecture. Past construction endeavours in Saudi Arabia were shaped by diverse ideologies and catered to the evolving needs of its Arab populace.
Today, Saudi art and architecture offer a glimpse into the nation’s contemporary built environment and cultural landscape, showcasing avant-garde projects characterised by unconventional forms and materials.
Here are 10 projects in Saudi Arabia worth learning about:
Maraya, AlUla
Architect: Giò Forma Studio Associato S.r.l
Area: 5,000m2
The Nabataeans named Mada’in Salih, situated 22 km from AlUla, as al-Hijr or Hegra, where they meticulously carved magnificent tombs into the golden Quweira sandstone outcrops.
Mada’in Salih earned the distinction of being Saudi Arabia’s inaugural World Heritage Site following its UNESCO designation. In under four months, the MMG | KAS agency, commissioned by the dynamic Royal Commission, established a new cultural event venue and “Destination” in Al-Ula.
From the Nabataeans to the present day, this landscape has served as a muse for architecture and land art. The Arabic term “Maraya,” meaning “Reflection” or “Mirror,” embodies an architectural marvel—a vision shaped by the rich natural and social history of the locale.
As a site-specific “Object-Architecture,” the colossal mirror cube named “Maraya” prompts reflection on the awe-inspiring geological wonders, the stark abstraction of the environment, and humanity’s unique interventions within the terrain.
Rather than overshadowing nature, this project seeks to accentuate the beauty of its surroundings, turning the environment itself into an exhibition space of unparalleled allure.
Islamic Arts Biennale, Jeddah
Architect: OMA
Area: 12,000m2
Source: ArchDaily
The Western Hajj Terminal, envisioned by SOM, serves as the venue for the inaugural Islamic Arts Biennale, showcasing a blend of contemporary and ancient artefacts across its vast expanse of 120,000 square meters.
The exhibition space is ingeniously divided into two complementary sections, each defined by the scenography crafted by OMA:
One section guides visitors through a carefully choreographed journey across a series of newly constructed galleries, offering a gradual progression of orientation from one room to the next. Drawing inspiration from the concept of the Qiblah— the direction faced by Muslims during prayer—the exhibits unfold gradually, transitioning from dimly lit chambers displaying 17th-century astrolabes used for calculating the Qiblah, to brightly illuminated spaces housing installations such as the First Saudi Door of the Ka’bah in Makkah, erected during King Abdul Aziz’s reign.
The other section creates a desert-like ambiance beneath the terminal’s roof, symbolizing the Hijrah, Prophet Muhammad’s journey from Makkah to Madinah. Artworks are showcased on slopes and sloping walls of various heights, designed in harmony with the terminal’s existing geometry, encouraging visitors to explore the environment. Anchoring this expansive setting are two standalone pavilions showcasing antiquities from Madinah and Makkah. These pavilions feature displays set within luminous, translucent screens, creating a captivating contrast against the rugged exterior surroundings.
Additionally, a separate gallery named AlMadar, or The Orbit, pays homage to the 40th anniversary of the Hajj Terminal, hosting artworks from twelve local and international institutions, including Kuwait’s Al Sabah Collection of Islamic art. This gallery operates independently of the Biennale’s theme.
Al Gharra Mosque, Madina
Architect: Mohammed Ibrahim Shafee Architectural Office
Area: 1,500m2
Source: ArchDaily
Al Gharra Mosque defied the conventional emulation of prevailing Saudi Arabian construction styles. Instead, it embarked on a daring journey to distil the essence of a mosque as the abode of Allah, echoing the simplicity of the days of the Prophet Mohammed, particularly in its decorated geometrical prayer hall.
Positioned to face Makkah, the envisioned structure stands atop a raised rocky terrain, harmonizing with its surroundings at varying elevations, with a maximum distance of 7 meters from its nearest neighbours. Access to the prayer hall or the ablution area is facilitated by curved linear stepped paths leading to the mosque’s front yard (Sahan). This intentional arrangement not only contrasts with the environment but also symbolically reflects the distinct religious states of Al Zahir, Taharah, and Al-Batin.
The elegant design of Al Gharra Mosque gracefully interplays with light, weaving a narrative of solace for worshippers amidst prayer. Its persona is embodied in asymmetrical worship spaces, where the concrete under the sun contrasts with moon-like black stones and hints of off-white bricks.
Princess Nora Bint Abdulrahman University, Riyadh
Architect: Perkins+Will
Area: 3,000,000m2
Thanks to the collaborative efforts of internationally acclaimed architecture and design firm Perkins+Will and Dar Al-Handasah (Shair and Partners) (Dar), up to 60,000 female undergraduate students now have access to state-of-the-art educational facilities across various academic disciplines at Princess Nora Bint Abdulrahman University (PNU).
Known as the world’s largest university exclusively for women, PNU boasts a sprawling campus spanning 32 million square feet. Unlike conventional campuses, which evolved over decades, every building at PNU was erected simultaneously.
The majority of the campus, meticulously designed by Perkins+Will and Dar, caters exclusively to women, with exceptions such as the Medical facility and select sections of the research facility being coeducational. Drawing inspiration from regional architecture and cultural heritage, the use of mashrabiy’yah, or latticework barriers, strategically balances outdoor privacy for students while enhancing visibility within the school premises.
Approximately 150 employees from five Perkins+Will offices collaborated on this highly cooperative project, incorporating a diverse range of expertise, including navigation, branded environments, architecture, and interior design. Perkins+Will was responsible for designing PNU’s K–12 schools, Academic Campus, Academic Medical Campus, Sports and Recreational facilities, and Health Sciences and Research Campus.
Serving as the architect and engineer of record, Dar Al-Handasah contributed an additional 150 personnel to the project, spearheading the development of the master plan, residential and administrative buildings, campus-wide monorail system, and overall infrastructure.
Situated in Riyadh, Saudi Arabia, most of the PNU campus buildings are registered under the USGBC’s LEED® rating system, with certification goals ranging from LEED Gold to LEED Certified. These projects have effectively doubled Saudi Arabia’s total number of LEED-registered projects, showcasing a commitment to sustainability and innovation.
Takhassussi Patchi Shop, Riyadh
Architect: Lautrefabrique Architectes
Area: 707m2
Source: ArchDaily
Over the past years, Lautrefabrique has been instrumental in crafting boutiques for Patchi, a leading name in the luxury chocolate gifting sector in the Middle East. In 2000, Patchi acquired a neoclassical residence located on Takhassussi Avenue, a bustling ten-lane freeway, within a residential area of Riyadh. Recognizing the need to rejuvenate this distinctive boutique and enhance the brand’s presence in the region for the twenty-first century, the group embarked on a revamp project in 2008.
Lautrefabrique’s expertise breathed new life into this seemingly ordinary space, offering a range of architectural solutions to address specific challenges. In this instance, the agency’s involvement extended to overseeing the bidding process, demonstrating its holistic approach to the project.
The primary focus was on transforming the exterior of the premises, departing from the neo-classical villa aesthetic to create a visually striking facade. A significant screen, featuring an eye-catching focal point, was envisioned to capture the attention of the numerous commuters passing by on the busy thoroughfare each day.
Source: ArchDaily
Careful consideration and creative ingenuity guided the selection of white aluminum composite panels adorned with a meticulously crafted monogram pattern. Given the frequent sandstorms prevalent in the city, the design incorporated a dual entryway, framed by two modest horizontal display windows, resembling screens.
King Abdulaziz Centre for World Culture (Ithra), Dhahran
Architect: Buro Happold
Area: 350,000m2
Dhahran, January 29, 2021. Ithra Downtown cultural programs and events opens to the public in Saudi Arabia. ;Saudi
The King Abdulaziz Center for World Culture, known as Ithra, meaning “enrichment” in Arabic, stands as a flagship initiative by the Saudi Aramco Oil Company, aimed at fostering cultural development, knowledge dissemination, and diversity within the kingdom.
Since its inauguration in 2018, the centre has become a beacon of opportunity, offering unparalleled access to a wide array of educational and cultural resources for both locals and visitors alike.
At the heart of the centre lies an auditorium, serving as a dynamic venue for a myriad of events ranging from opera and symphony concerts to musicals and lectures. Complementing this is a cinema, a library boasting an extensive collection of over 315,000 books catering to all age groups, and a spacious exhibition hall adorned with integrated artworks by local and international artists.
Additionally, the centre houses a museum and an archive, bridging the vibrant cultural presence of the centre with the rich heritage and societal roots from which it draws inspiration.
Nestled within the arid desert landscape, the center’s high-tech pebble-like structure emerges as a striking testament to architectural innovation. Its main tower, soaring 110 metres into the sky, is surrounded by additional pebble-shaped structures.
Among these, the Library, the Auditorium, and the Great Hall appear grounded, while the fourth pebble, known as the Keystone, is suspended and strategically positioned, leaning against the tower on one side and the Library on the other. Each pebble is not only distinct in its physical form but also serves a unique purpose programmatically, contributing to the multifaceted offerings of the center.
Al-Turaif District, Diriyah
Design (Planning): AtkinsRéalis
Area: 10,000m2
The Al-Turaif District proudly holds the prestigious title of a UNESCO World Heritage site, serving as a custodian of traditional Najdi urban architecture. This historical enclave offers a captivating journey through the kingdom’s cultural heritage, inviting visitors to explore its narrow alleyways and intricately designed structures that serve as poignant reminders of Saudi Arabia’s rich past.
Meticulously preserved and restored, the Al-Turaif District stands as a living testament to the kingdom’s unwavering dedication to safeguarding its cultural legacy.
Stepping into this enchanting locale is akin to stepping back in time, where the architectural splendour of yesteryears seamlessly merges with the present, creating an immersive experience that reveres the vibrant tapestry of Saudi Arabia’s cultural identity.
Mada-in Saleh Museum, AlUla
Architect: Jean Nouvel
Area: 12,000,000m2
The Mada’in Saleh Museum stands as a tribute to the enduring legacy of the Nabataean civilization, showcasing its rich history and cultural contributions. Renowned architect Jean Nouvel’s innovative design imbues the museum with a contemporary flair, seamlessly blending modern aesthetics with historical significance.
Beyond serving as a mere repository of artifacts, the museum serves as a portal to the past, unfolding the captivating narrative of the Nabataeans and inviting visitors on an immersive journey through time.
Employing cutting-edge technology, the Mada’in Saleh Museum preserves the tangible remnants of a bygone era while enhancing the visitor experience. Thoughtfully curated exhibits offer a vivid portrayal of Nabataean life, highlighting their profound impact on art, trade, and architecture.
King Abdullah Petroleum Studies and Research Centre, Riyadh
Architect: Zaha Hadid Architects
Area: 70,000m2
Source: Zaha Hadid Architects
The King Abdullah Petroleum Studies and Research Centre (KAPSARC) stands as the centre of innovation in Saudi Arabia’s construction landscape. As a non-profit organisation, KAPSARC conducts independent research aimed at developing policies that promote the efficient utilisation of energy for the betterment of global social well-being.
Comprising five distinct buildings spread across a sprawling 70,000m2 campus, KAPSARC houses essential facilities such as the Energy Knowledge Center, Energy Computer Center, Conference Center with a 300-seat auditorium and exhibition hall, Research Library boasting 100,000 volumes of archives, and Musalla, a serene prayer space within the campus.
Embodying sound technological and environmental principles, KAPSARC’s design seamlessly integrates these components into a cohesive whole. Notably, the center, ZHA’s first project to achieve LEED Platinum certification from the US Green Building Council, was meticulously crafted with the environmental conditions of Riyadh Plateau in mind, prioritizing energy efficiency and resource conservation.
Recognized as the “Smartest” construction project in Saudi Arabia by the Honeywell Smart Building Awards, KAPSARC excels across multiple dimensions, including productivity, safety, and environmental sustainability. This accolade underscores KAPSARC’s unwavering commitment to pioneering excellence in construction and advancing sustainable practices in the kingdom and beyond.
Assila HQ, Riyadh
Architect: Peter Ruge Architekten
Area: 12,230m2
Source: ArchDaily
Designed with the plot’s rectangular shape in mind, the building’s two full floors, mezzanine, and basement maximize functionality while ensuring environmental suitability by integrating local climate patterns and conventional architectural elements. An inner courtyard facilitates natural lighting and ventilation, with activities thoughtfully organized around it for easy navigation within the structure.
Notable architectural features include an angled division of the building volume, with sections strategically positioned to create a shaded entrance space for the Dewaniya on the ground floor. The Dewaniya, comprising a spacious dining area, majlis, and reception, shares space with the offices, which have their own entrance lobby. Conference rooms, offices, and a canteen occupy the upper floors.
Outdoor spaces are meticulously designed, featuring clusters of palm trees, green lawns, stone slabs adorned with rock gardens, and desert flora. The inner courtyard, paved with stone slabs capable of flooding, complements the building’s surroundings while fostering a productive and comfortable workspace.
King Fahad National Library, Riyadh
Architect: Gerber Architekten
Area: 21,000m2
The completion of the King Fahad National Library in November 2013 marked a significant milestone in Saudi Arabia’s cultural landscape. Led by Professor Eckhard Gerber and his team at Gerber Architekten, this project stands as a cornerstone of urban development and cultural enrichment in Riyadh. Balancing the challenge of integrating within existing urban fabric while honoring Arabian cultural values, the design represents a harmonious fusion of tradition and innovation.
The new building’s symbolic cuboid shape envelops the existing structure, symbolising the National Library’s emergence as a centre of knowledge in Riyadh’s cityscape.
Retaining the old building as an internal stack underscores its central role within the new library. Adorned with a delicate textile facade inspired by traditional Middle Eastern architectural motifs, the new structure seamlessly blends heritage with cutting-edge technology.
Originally conceived through an international competition in 2003, the design of the National Library reflects meticulous planning and thoughtful consideration of its cultural and architectural context.
As Gerber Architekten continues to leave their mark on Saudi Arabia’s urban landscape, with plans underway for the Olaya Metro Station, its commitment to architectural design excellence remains clear.
We explore Villa Baizeau in Tunisia, Le Corbusier’s only project in Africa, through an exhibition on the project at Tunis gallery 32bis..(Image credit: FLC – ADAGP – Thomas Bilanges)
We visit Villa Baizeau in Tunisia, Le Corbusier’s only project in Africa
Think of Carthage, and modernist architecture is unlikely to come to mind. Yet Villa Baizeau – Le Corbusier’s only project in Africa – is located right here, in the historic suburb of the Tunisian capital, just steps from its impressive Roman ruins and brilliant blue seas.
An exhibition currently on display in 32bis, a multistorey cultural space in downtown Tunis, aims to bring the story of this lesser-known Le Corbusier project to the wider public. ‘We were keen to put on this exhibition because the building has never been open to the public,’ explains locally based architect Chacha Atallah, the driving force behind the show, which is curated by architectural historian Roberto Gargiani and supported by innovative local art platform La Boîte. ‘It went from being a private home to a property that became part of the presidential palace precinct so it has an air of mystery about it.’
(Image credit: FLC – ADAGP – Xavier Baizeau)
Le Corbusier’s Villa Baizeau in Tunis
Designed by Le Corbusier and his cousin Pierre Jeanneret, and completed in 1930, Villa Baizeau stands on a hill overlooking the Gulf of Tunis. It offers sweeping and striking views of the lush Bou Kornine summit and national park and the blue and white houses of Sidi-Bou-Saïd. Unbeknownst to many, it is the project on which the architect first trialled and developed his ideas around the brise-soleil (or sun-breaker) and adapted his open-plan Dom-Ino housing concept for hotter climates.
(Image credit: FLC – ADAGP – Thomas Bilanges)
It’s interesting and significant for other reasons, too. Firstly, because the client –French industrialist Lucien Baizeau, a prominent player in Tunisian social, political and economic life during the French protectorate in Tunisia – had an at times feisty and conflictual relationship with Le Corbusier, says Atallah.
Secondly, and intriguingly, Le Corbusier designed the building without ever setting foot in Tunisia. ‘He was already quite well-known back then and busy travelling the world and giving conferences,’ explains Atallah. ‘He had been to Algeria but not Tunisia, so the client asked a topographer and photographer to take photos and send him drawings and plans that showed the views, the orientation, where the sun landed.’
(Image credit: FLC – ADAGP – Thomas Bilanges)
The seeds for the project were first planted in 1927, when Baizeau received a catalogue of the groundbreaking modernist housing exhibition in Stuttgart, ‘Die Wohnung’, and saw Le Corbusier’s Double House for the Weissenhof Estate. ‘He was utterly seduced by these new construction methods that made use of reinforced concrete,’ says Atallah.
At the helm of several companies, including a construction firm called La Tunisoise Industrielle that also made building materials, Baizeau was looking to expand the capacity of what the firm could do and introduce these modern and revolutionary techniques. As a result, he had a far clearer idea of what he wanted than most clients. ‘When he eventually sent the contract to Le Corbusier, he also sent plans and drawings for the house,’ explains Atallah. ‘It’s rare and unprecedented that a client is so involved in a project,’ she continues, ‘but Baizeau was a construction man and had a genuine understanding of the process.’
(Image credit: FLC – ADAGP – Thomas Bilanges)
The design process was long and, at times, arduous, with Baizeau rejecting the first three designs sent by Le Corbusier and Jeanneret, which were based on the Maison Citröhan prototype that was more suited to urban or city settings, explains Atallah. Baizeau proposed changes and counter-projects that took on elements of the duo’s design solutions but disregarded others.
‘The spaces Le Corbusier had designed were very open-plan, whereas Baizeau wanted more intimate and acoustically insulated spaces as suited their lifestyle,’ says Atallah. ‘By the third iteration of the design, Baizeau had had enough and sent a letter to Le Corbusier, along with more drawings and a note stating “I ask you to study these documents immediately and to conform to them as much as is possible”.’
(Image credit: FLC – ADAGP – Xavier Baizeau)
The fourth design was, fortunately, the final one. Though many things had been modified along the way, the main changes related to climate and ventilation issues. From the outset, Baizeau had been adamant that his modern seaside home be adapted to the local climate and be able to withstand the hot Tunisian sun and sirocco winds.
His suggestion that there be a balcony that wrapped around the building sparked something in Le Corbusier, who not only ran with the idea but adapted it, creating the generous cantilevered open terraces we can see on three sides of the house today. With railings on the front elevation, the building took on the air of one of those grand ocean liners Le Corbusier so admired. Above all, these terrace overhangs provided plenty of shaded outdoor space throughout the day, and the possibility of indoor/outdoor living throughout the seasons.
(Image credit: FLC – ADAGP – Xavier Baizeau)
‘Le Corbusier had never done a project in this part of the world before and until that point had not concerned himself much with questions of climate, surroundings, ventilation and sunlight,’ explains Atallah.
‘Villa Baizeau represents the birth of the brise-soleil, an idea that would accompany him the rest of his life and in every project he later developed, for instance, the honeycomb façade of the Cité Radieuse in Marseille, Villa Shodhan in Ahmedabad, and his work in Chandigarh. With Villa Baizeau, the notion of climate entered his architecture.’
(Image credit: FLC – ADAGP – Thomas Bilanges)
The final design also represents the birth of a new typology Atallah explains, an adapted version of Le Corbusier’s Maison Dom-ino, with reinforced concrete columns that do away with the need for load-bearing walls. ‘But instead of being open-plan, it is filled with rooms.’
(Image credit: FLC – ADAGP – Thomas Bilanges)
Though Villa Baizeau acquired national listed status in January 2024, Atallah and the rest of the team behind the exhibition would like to see the building acquire Unesco status and be restored and opened up to the public. ‘People need to be able to visit and study it,’ she says. Making this exhibition and catalogue ‘was the only diplomatic way we knew of to make the relevant people pay attention.’ Here’s to hoping they do.
(Image credit: FLC – ADAGP – Xavier Baizeau)
‘Simple Architecture: Villa Baizeau in Carthage by Le Corbusier and Jeanneret’ runs at 32bis until 30 May 2024
Giovanna Dunmall is a freelance journalist based in London and West Wales who writes about architecture, culture, travel and design for international publications including The National, Wallpaper*, Azure, Detail, Damn, Conde Nast Traveller, AD India, Interior Design, Design Anthology and others. She also does editing, translation and copywriting work for architecture practices, design brands and cultural organisations.
Only 57 producers are responsible for 80% of all fossil fuel and cement CO2 emissions as claimed in its Launch Report on the current Carbon Majors Database.
The image above is for illustration purposes – credit Yahoo
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Only 57 producers are responsible for 80% of all fossil fuel and cement CO2 emissions since 2016 – new report
Just 57 companies and nation-states were responsible for generating 80% of the world’s CO₂ emissions from fossil fuels and cement over the last seven years, according to a new report released by the thinktank InfluenceMap. This finding suggests that net zero targets set by the Paris Climate Change Agreement in 2015 are yet to make a significant impact on fossil fuel production.
The report uses the Carbon Majors database, established in 2013 by Richard Heede of the Climate Accountability Institute, to provide fossil fuel production data from 122 of the world’s largest oil, gas, coal and cement producers.
The InfluenceMap report tells a sobering but informative story of the state of production in these high-emitting industries. Cement and fossil fuel production has reached unprecedented levels, with most of the emission growth traceable to a relatively small number of large companies.
The troubling reality is that the lack of progress of these large fossil fuel companies means the world will need to undertake ever more stringent and steep decarbonisation trajectories if countries are to meet the Paris agreement goal of keeping warming well below 2°C.
The Carbon Majors database highlights how critical it is for companies and countries to be held accountable for their lack of progress on emission reductions. Companies need to define exactly how best to align with the Paris goals, and then monitor and track their progress.
To address this need, our team of researchers from the Universities of Queensland, Oxford and Princeton developed a framework that outlines strict science-based requirements for tracking the progress of companies against Paris-aligned pathways.
By applying this framework to the Carbon Majors database in a follow-up study, our team mapped production budgets for 142 fossil fuel companies against several Paris-aligned global scenarios of the Intergovernmental Panel on Climate Change.
We considered the “middle-of-the-road” future scenario whereby business carries on as usual – this is commonly used by investors to evaluate a company’s climate risks. With this scenario, we found that between 2014 and 2020, the coal, oil and gas companies produced 64%, 63% and 70% respectively more than their budgets allow. Further details can be found on the Are You Paris Compliant? website.
Transparency is crucial
Over the seven-year period covered by the InfluenceMap report, nation states and state-owned companies are responsible for most of this growth. It is not yet clear whether such government-run companies will move towards improved reporting against climate standards, but further interventions by governments will clearly be required to meet stated national emission-reduction goals.
Fortunately, more transparency will be available for investor-owned companies. In 2023, a non-profit that aims to standardise global accounting, the International Financial Reporting Standards Foundation, released new climate-related disclosure standards. These should provide investors, politicians and the public with access to more transparent and consistent data, making it much easier for them to accurately judge companies’ climate performance – or lack thereof.
It will be interesting to read the climate reporting of the 57 companies identified by InfluenceMap in coming years. The release of the Carbon Majors data, along with the new climate-related disclosure standards, will hopefully make a huge difference. Companies being more accountable for their emissions should help reduce greenwashing in corporate sustainability reports.
Quantifying fossil fuel and cement production, and associated emissions, is a crucial step. But companies also need to act. Achieving net zero by reducing the emissions of a relatively small number of companies will be much easier than persuading 8 billion people to take collective action on climate.
Such drastic reductions in fossil fuel production must also be matched by investment in abundant and increasingly cheap sources of clean renewable energy. Without these steps, the Paris goals will be unachievable – and that’s very risky for all of us.
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