Microplastics from paint pollute the oceans

Building design
Microplastics in the sea: paint abrasion contributes significantly to pollution. Linseed oil paints have long been considered an environmentally friendly alternative in conservation and restoration. Photo: Ottosson Färgmakeri

Microplastics in the sea: paint abrasion contributes significantly to pollution. Linseed oil paints have long been considered an environmentally friendly alternative in conservation and restoration. Photo: Ottosson Färgmakeri

According to a new study, paint particles contribute to the concentration of microplastics in the world’s oceans. Linseed oil paints are considered an environmentally friendly alternative. They have long been used in conservation and restoration, as Ralph-Uwe Johann explains using the example of Gunnar Ottosson’s Swedish manufactory The paint industry is one of the sectors that contributes the most to primary microplastics in the oceans.

According to a new study, paint particles contribute to the concentration of microplastics in the world’s oceans. Linseed oil paints are considered an environmentally friendly alternative. They have long been used in conservation and restoration, as Ralph-Uwe Johann explains using the example of Gunnar Ottosson’s Swedish manufactory

The paint industry is one of the sectors that contributes the most to primary microplastics in the oceans and waterways. On average, 7.4 tons of coloured macro- and microplastics are released into the environment every year, 1.9 million tons of which end up in the oceans – a considerable amount.

This was the conclusion of the study “Plastic paints the Environment” by the research-based consultancy Environmental Action (EA). The central questions of the 2021 study were the extent to which microplastics affect the world’s oceans and the extent to which plastic paints contribute to their pollution. After all, paints have an average plastic content of around 37 percent.

Conclusion: using more environmentally friendly paints

Basically, two main factors are responsible for global plastic pollution. Macroplastics enter the environment through improperly treated waste and decompose into microplastics over time (Jambeck et al., 2015). Abrasion and wear of paints from commercial ships and offshore drilling rigs, for example, release primary microplastics, which are then released directly into the oceans (Boucher & Friot, 2017). In view of the level of environmental pollution caused by plastic paints, the study concludes, it is all the more important that more environmentally friendly paints are used in as many areas as possible and that appropriate methods for handling paints are developed.

The study is intended to help combat and prevent plastic pollution in practice

Dr. Paola Paruta, Environmental Analyst at Environmental Action (EA) and lead author of the study, says: “Our report fills an important knowledge gap in the field of microplastic pollution. Our aim is to provide useful information to stimulate further research and concrete action to tackle and prevent microplastics and plastic pollution in general.”

The research results provide information on the level of pollution

“The report should be seen as a wake-up call for the coatings industry and its customers,” explains Declan Mc Adams, CEO of Pinovo. The Norwegian company commissioned the independent study. “It is important that the industry finds less harmful and more viable alternative methods. We need a systematic change in the use and treatment of paint now that this research has shed light on the level of pollution.”

Linseed oil paints are a natural alternative to plastic paints

Linseed oil paints from Swedish paint manufacturer Ottosson Färgmakeri, which has been producing paints exclusively from linseed oil and traditional pigments in its factory for three decades, are a natural alternative to plastic paints. From the very beginning, the founder focused on the concept of sustainability – long before climate change made the term ubiquitous. The boiled linseed oil serves as a binder for the paint, which does not require any other additives. Linseed oil paints, like plastic paints, are suitable for almost any surface. However, if it gets into the environment, it is completely harmless.

“Conservation and restoration can make a significant contribution to the sustainable use of resources”

Ralph-Uwe Johann, Managing Director of Deffner & Johann, a specialist wholesaler for materials, tools and equipment in the field of restoration and monument conservation (Röthlein), has long relied on Ottosson Färgmakeri products. “Conservation and restoration can make a significant contribution to the sustainable use of resources,” says Johann. “The preservation and conversion of monuments offer considerable potential for saving building materials and energy.” Furthermore, materials in their traditional use are often significantly more sustainable when the entire life cycle is considered. “Binder systems with a historical reference, such as lime or linseed oil, not only offer a favorable ecological balance, but are also often more resource-efficient in terms of production and maintenance,” Ralph-Uwe Johann continues.

You can take a look inside Gunnar Ottosson’s factory here:

The goal: responsible use of resources

Ultimately, a rethink is needed on the part of all those involved, i.e. manufacturers, entrepreneurs and consumers, in order to stop polluting our environment with plastic in any form. Each individual can contribute to this by avoiding plastic and disposing of waste properly. Only if we use resources responsibly and act sustainably in the future will it be possible to reduce pollution of the world’s oceans and the environment as a whole.

Tip: Together with Gunnar Ottosson, Ralph-Uwe Johann offers workshops on linseed oil painting, which are booked out in no time at all. Johann came up with the idea of using video tutorials to teach how to use linseed oil very early on. The response to this highly specialized topic speaks for itself: the guide on surface treatment alone, which was published four years ago, achieved more than 77,000 views.

Where does the German museum landscape stand in terms of sustainability and climate protection? A survey by Museums For Future explored this question in spring 2022. Find out more here.

YOU MAY ALSO LIKE

Procuratie Vecchie: Chipperfield in Venice

Building design
David Chipperfield Architects, Procuratie Vecchie, Venice, exterior view, photo: Richard Davies

David Chipperfield Architects, Procuratie Vecchie, Venice, exterior view, photo: Richard Davies

David Chipperfield Architects have extensively renovated the Procuratie Vecchie, the oldest part of the Procuratie on St. Mark’s Square in Venice. At the same time, they created new rooms under the roof of the historic building, which will be open to the public in future.

David Chipperfield Architects have extensively renovated the Procuratie Vecchie, the oldest part of the Procuratie on St. Mark’s Square in Venice. At the same time, they created new rooms under the roof of the historic building, which will be open to the public in future.

Less than a year after completing the highly acclaimed restoration of the Neue Nationalgalerie in Berlin, David Chipperfield Architects have completed the refurbishment of another highly significant building. A few days ago, the Procuratie Vecchie, the northern wing of the Procuratie on St. Mark’s Square in Venice, was opened to the public. This oldest part of the complex, which frames Piazza San Marco on three sides, is also one of the most important examples of Renaissance architecture in the city. The Florentine Jacopo Sansovino in particular, who took over the project begun by Bartolomeo Bon in 1517 in 1529, ensured that the High Renaissance, which was already in full bloom in Florence and Rome, also gained a foothold in Venice. The Procuratie Vecchie, however, still show the Venetian style of the Renaissance.

Less than a year after completing the highly acclaimed restoration of the Neue Nationalgalerie in Berlin, David Chipperfield Architects have completed the refurbishment of another highly significant building. A few days ago, the Procuratie Vecchie, the northern wing of the Procuratie on St. Mark’s Square in Venice, was opened to the public. This oldest part of the complex, which frames Piazza San Marco on three sides, is also one of the most important examples of Renaissance architecture in the city. The Florentine Jacopo Sansovino in particular, who took over the project begun by Bartolomeo Bon in 1517 in 1529, ensured that the High Renaissance, which was already in full bloom in Florence and Rome, also gained a foothold in Venice. The Procuratie Vecchie, however, still show the Venetian style of the Renaissance.

The Generali insurance company has been based in the Procuratie Vecchie since 1831. The new company rented its first offices on St. Mark’s Square as early as the year it was founded. Today, the north wing of the Procuratie is fully owned by the insurance group. In 2017, David Chipperfield Architects were commissioned to comprehensively renovate the Procuratie Vecchie and at the same time adapt it to new usage requirements. A significant part of the renovations served the purpose of creating publicly accessible areas in the old Procuratie, which are used by the Generali Foundation “The Human Safety Net”. To this end, exhibition rooms, event areas, offices and an auditorium were created on the third floor of the Procuratie Vecchie.

The Generali insurance company has been based in the Procuratie Vecchie since 1831. The new company rented its first offices on St. Mark’s Square as early as the year it was founded. Today, the north wing of the Procuratie is fully owned by the insurance group. In 2017, David Chipperfield Architects were commissioned to comprehensively renovate the Procuratie Vecchie and at the same time adapt it to new usage requirements. A significant part of the renovations served the purpose of creating publicly accessible areas in the old Procuratie, which are used by the Generali Foundation “The Human Safety Net”. To this end, exhibition rooms, event areas, offices and an auditorium were created on the third floor of the Procuratie Vecchie.

The majority of the new rooms were created on the top floor of the building. As light had previously only reached here through small oculus windows in the Renaissance façade, David Chipperfield Architects inserted large skylights into the gently sloping roof surface. The brickwork was exposed on the walls and the rooms were connected with a representative enfilade.

The majority of the new rooms were created on the top floor of the building. As light had previously only reached here through small oculus windows in the Renaissance façade, David Chipperfield Architects inserted large skylights into the gently sloping roof surface. The brickwork was exposed on the walls and the rooms were connected with a representative enfilade.

To open up the newly designed top floor, the architects built a new staircase into the historic building. It is located between the courtyards of the Procuratie Vecchie in the center of the wing building. The staircase ends at the top in the new “Central Pavilion”, which David Chipperfield Architects inserted into the roofscape of the Procuratie. On the one hand, it brings light into the new staircase with its large windows. On the other hand, it provides access to the two large roof terraces – a typical Venetian element – that flank the pavilion.

To open up the newly designed top floor, the architects built a new staircase into the historic building. It is located between the courtyards of the Procuratie Vecchie in the center of the wing building. The staircase ends at the top in the new “Central Pavilion”, which David Chipperfield Architects inserted into the roof landscape of the Procuratie. On the one hand, it brings light into the new staircase with its large windows. On the other hand, it provides access to the two large roof terraces – a typical Venetian element – that flank the pavilion.

As far-reaching as the renovations to the Procuratie Vecchie are, David Chipperfield Architects attached great importance to working in the spirit of Venetian architecture. This is particularly evident in the surface materials used. The walls, for example, were plastered with Marmorino or given a scialbatura finish where they are not exposed to stone. The floors are made of terrazzo or pastellone. The door reveals of the newly broken passages are made of artificial stone. The exterior of the Cental Pavilion is painted using the cocciopesto technique. For the roof terraces, the architects chose paint made from ground terracotta tiles.

David Chipperfield Architects followed the findings even more meticulously than in Venice when renovating the Neue Nationalgalerie in Berlin.

As far-reaching as the renovations to the Procuratie Vecchie are, David Chipperfield Architects attached great importance to working in the spirit of Venetian architecture. This is particularly evident in the surface materials used. The walls, for example, were plastered with Marmorino or given a scialbatura finish where they are not exposed to stone. The floors are made of terrazzo or pastellone. The door reveals of the newly broken passages are made of artificial stone. The exterior of the Cental Pavilion is painted using the cocciopesto technique. For the roof terraces, the architects chose paint made from ground terracotta tiles.

David Chipperfield Architects followed the findings even more meticulously than in Venice when renovating the Neue Nationalgalerie in Berlin.

Automatic sliding doors as an escape route

Building design

Passages that meet the requirements for accessibility, escape routes and fire protection are a challenge for planners. The manufacturer Hörmann offers the “AS30-X/FR” for this purpose.

A particular challenge for architects and planners are passageways that meet the requirements for accessibility, escape routes and fire protection and must also support a bright and glazed design. The manufacturer Hörmann offers the “AS30-X/FR”, a combination of the “AD 100-X” automatic sliding door and the “HE 321” fire door with T30 aluminum tubular frame elements.

In normal or daytime operation, the tubular frame elements are open and the automatic sliding door acts as an escape route. In emergency and night mode, the sliding door opens automatically and remains open. The tubular frame elements close automatically and prevent the spread of fire, but can be opened using the lever handle so that the passage can be used as an escape route in an emergency. The system also has burglar-resistant RC 2 equipment and insulates sound in the building.