Latest news with #Merdeka118
New Straits Times
6 days ago
- Business
- New Straits Times
Sika Malaysia expands sustainable solutions to support nation's infrastructure growth
KUALA LUMPUR: As Malaysia ramps up efforts to moderniseinfrastructure and prioritise sustainable development, global construction materials company Sika is steadily expanding its role in supporting the nation's evolving built environment. With over 100 years of experience and operations in more than 100 countries, the Switzerland-headquartered company has embedded itself into Malaysia's construction sector, contributing to a range of national projects. Its local subsidiary, Sika Malaysia, has supplied materials and technical expertise to notable developments including Merdeka 118 and an upcoming data centre in Elmina Park. Reflecting its commitment to the market, Sika Malaysia recently relocated its headquarters from Petaling Jaya to Bangsar South, centralising the group's supporting functions under one roof to boost operational efficiency and foster a unified culture for its 420-strong workforce. The company is currently led by its general manager, Francisco Retondo. Nearly 75 per cent of its products sold in Malaysia are manufactured locally, supported by multiple manufacturing facilities across the country. The primary manufacturing site in Nilai, Negeri Sembilan, acts as the central hub, housing production plants, a warehouse, a laboratory, and administrative offices. Additional production locations include Teluk Gong and Bukit Raja in Selangor, Ipoh in Perak, Senai and Gelang Patah in Johor, as well as Kota Kinabalu in Sabah. This extensive manufacturing footprint strengthens local supply chains and enhances resilience against global logistical disruptions. Sika Malaysia leverages its parent company's network of 18 Global Technology Centers—including four based in Asia, specifically in China and Japan—to adapt international innovations to local conditions. This includes addressing Malaysia's tropical climate and high rainfall levels through advanced waterproofing systems and durability-enhancing concrete admixtures. Strategic acquisitions and partnerships have also played a key role in Sika's growth. The acquisition of MBCC Group in May 2023 significantly bolstered Sika's global construction chemicals portfolio, while compliance with antitrust regulations led to divestment of some admixture businesses to private equity firm Cinven. Earlier, in May 2019, the acquisition of ParexGroup expanded Sika's building finishing segment, adding products such as tile adhesives, façade mortars, and waterproofing solutions. Locally, Sika has partnered with Dr. Grout Malaysia, a leader in tile grout restoration, combining Dr. Grout's service expertise with Sika's product performance to elevate tile care standards nationwide. Central to Sika's operating model is its sustainability framework, aimed at reducing environmental impact while delivering long-lasting performance. At the global level, Sika targets a 12 per cent reduction in carbon emissions per ton of product sold by end-2025, and is committed to achieving net-zero emissions by 2050. This includes interim targets aligned with the Science Based Targets initiative (SBTi)—namely a 50.4 per cent cut in Scope 1 and 2 emissions, and 30 per cent in Scope 3 emissions by 2032. In Malaysia, this translates into initiatives such as solar panel installations, electric forklift adoption, and the use of supplementary cementitious materials to reduce carbon intensity and extend the life cycle of structures. Sika's commitment to sustainability is also reflected in its Strategy 2028, which places the development of sustainable solutions at its core. Its product engineers aim to extend the lifespan of buildings and industrial applications, reduce maintenance needs and emissions, and improve both energy and material efficiency—all while enhancing user safety and ease of application. "As Malaysia accelerates its shift toward sustainable and digitally driven infrastructure, we remain focused on providing high-performance solutions that help reduce environmental impact," said Francisco Retondo, General Manager of Sika Malaysia. "Our goal is to be a long-term partner in the country's development—leveraging local manufacturing, global expertise, and a strong commitment to sustainability." To further reduce its environmental impact, Sika is reformulating its products with alternative, renewable, or recycled materials, partnering with suppliers to lower the carbon footprint of raw materials and packaging, and targeting reductions in waste disposal and water discharge per ton of product sold. Sika also recognises that people are key to driving sustainability. As part of its efforts, the company empowers employees through innovative development programs designed to drive growth and long-term success. Sika Malaysia is also aligning its growth trajectory with the country's broader digital and industrial ambitions. Between January and October 2024, Malaysia recorded RM141.7 billion in data centre investments, reflecting momentum in digital infrastructure. With a strong pipeline of industrial and infrastructure projects, the company is projecting revenue growth of 10 to 15 per cent in 2025, significantly outperforming the construction industry's national average of 5.4 per cent. To navigate inflationary pressures and rising input costs, Sika is leaning into value-added, performance-based solutions, ensuring that sustainability and cost-efficiency go hand in hand.
The Hindu
7 days ago
- Business
- The Hindu
Daily Quiz: On iconic skyscrapers
Daily Quiz: On iconic skyscrapers Copy link Email Facebook Twitter Telegram LinkedIn WhatsApp Reddit YOUR SCORE 0 /5 RETAKE THE QUIZ 1 / 5 | The Tokyo Skytree, which opened to the public on this day 13 years ago, is the world's tallest tower. Its architecture combines traditional Japanese styles with ___________, an avant garde movement of the early 21st century with roots in the work of Buckminster Fuller, among others. Fill in the blank. DID YOU KNOW THE ANSWER? YES NO Answer : Neofuturism SHOW ANSWER 2 / 5 | The construction of this towering building began in 2004 and the outer structure was completely in 2009. It was originally to be named after its host city but the city's political head changed it to the name of his counterpart in a neighbouring territory for the latter's help shoring up its developer's finances during the 2008 recession. Name the building. DID YOU KNOW THE ANSWER? YES NO Answer : Burj Khalifa SHOW ANSWER 3 / 5 | The Gulf of Mexico is the location of a 640-metre-high structure built in 2000 and operated by an American multinational company. The structure is notable for being one of the tallest in world, even though most of it is supported by buoyancy because it stands in water. Name the company. DID YOU KNOW THE ANSWER? YES NO Answer : Chevron SHOW ANSWER 4 / 5 | Merdeka 118 in Kuala Lumpur is the second-tallest building in the world. Its development costs were footed by the Malaysian government. Name the Malaysian prime minister who defended the controversial expense but whose endorsement was undermined by his conviction and imprisonment in the 1MDB corruption scandal. DID YOU KNOW THE ANSWER? YES NO Answer : Najib Razak SHOW ANSWER
India.com
22-05-2025
- India.com
Top 5 tallest buildings in the world are..., is Dubai's Burj Khalifa still ranks at No 1? Check out top 5 skyscrapers list
Top 5 tallest buildings in the world are..., is Dubai's Burj Khalifa still ranks at No 1? Check out top 5 skyscrapers list Skyscrapers are symbols of modern engineering, creativity, and human ambition. Around the world, cities are racing to touch the sky with taller and more impressive buildings. But which ones are the tallest of them all? Let's take a look at the top 5 tallest buildings in the world, starting with the one that still rules the skies i.e. The Burj Khalifa. Standing at a staggering height of 828 meters (2,717 feet), the Burj Khalifa dominates Dubai's skyline and is a symbol of modern engineering and design excellence. 1. Burj Khalifa, Dubai, UAE – 828 meters (2,717 feet) Completed in 2010, this giant structure stands at 828 meters, making it the tallest building in the world. Its design is inspired by the Hymenocallis flower, and it uses a unique Y-shaped floor plan to reduce wind pressure. Built to withstand strong winds and earthquakes, the tower slightly sways during extreme weather. Burj Khalifa houses luxury apartments, offices, a hotel, and even an observation deck with breathtaking views of Dubai. 2. Merdeka 118, Kuala Lumpur, Malaysia – 678.9 meters (2,227 feet) Merdeka 118 is the second tallest building in the world and the tallest in Southeast Asia. Located in Malaysia, its spire reaches nearly 679 meters. The tower blends modern design with elements of Malaysian heritage. It hosts offices, a hotel, a shopping mall, and the region's highest observation deck. It's a new icon of Kuala Lumpur's skyline. 3. Shanghai Tower, Shanghai, China – 632 meters (2,073 feet) China's Shanghai Tower is not only tall but also one of the most eco-friendly skyscrapers. Standing at 632 meters, it's the tallest building in China and the third tallest in the world. Its twisting shape reduces wind load and helps conserve energy. Inside, it has office spaces, hotels, and observation areas — all built for a sustainable future. 4. Abraj Al-Bait Clock Tower, Mecca, Saudi Arabia – 601 meters (1,972 feet) Next on the list is the Abraj Al-Bait Clock Tower in Mecca, located near the Grand Mosque. It rises to 601 meters and is known for having the world's largest clock face. This tower is part of a complex that serves millions of pilgrims each year, offering hotels, prayer halls, and shopping centers. It's a key religious and architectural landmark. 5. Ping An Finance Center, Shenzhen, China – 599.1 meters (1,965 feet) Rounding out the top 5 is the Ping An Finance Center in Shenzhen, China. This tower reaches nearly 600 meters and is the second tallest in China after the Shanghai Tower. It serves as a major business and financial hub and has become a symbol of Shenzhen's rapid economic growth.
The Star
19-05-2025
- Entertainment
- The Star
Contradictheory: When Malaysia is cool blue
The new Thunderbolts* movie begins with the lead character stepping off the top of the 679m-tall Merdeka 118 in Kuala Lumpur and falling spectacularly down the side of the building. But perhaps what amazed me more than the stunt itself was that everything in Malaysia looked ... a little blue in the movie. It's been a bit of a trope that Hollywood uses a blue filter to portray countries that are cool or technologically advanced, while yellow is reserved for hot, less-developed places like Mexico or much of Africa. Just 10 years ago, Mission: Impossible – Rogue Nation gave Malaysia a slight yellowish tinge in the opening sequence. Sure, we were part of a global communications hub to help Ethan Hunt and friends execute a mission in Minsk, Russia. But we still came off as a remote, peripheral outpost far removed from the real action. So is this new blue filter good news for us? Have we gone from being a Third World country to, at the very least, a cool friend of First-Worlders? In the 1930s, South-East Asia was painted as a lush, untamed jungle teeming with wild animals where a white man could prove his mettle and impose order. Frank Buck's 1932 documentary Bring 'Em Back Alive showed audiences wildlife brawls featuring tigers, leopards, pythons, and crocodiles. It was breathlessly described as filmed in the 'deepest and most unreachable depths of the Malayan jungle', although in truth it was shot on the estates of a royal family friendly with the director. With the onset of World War II in the 1940s, Malaya's role shifted from jungle backdrop to contested battleground. The Japanese film Marai No Tora (1943) tells the story of Yutaka Tani, who, under the moniker 'Harimau', became a spy for Japan, robbing rich Chinese landowners and British officers to give to the poor. Somewhere in all that is a Japanese rendition of Terang Bulan , that shares the same melody as Negaraku . Then, in 1949, Spencer Tracy and James Stewart smuggle rubber out of Japanese-occupied Malaya , inspired by a real-life mission: An American newspaper publisher suggested the idea to President Franklin D. Roosevelt, who wrote back saying, 'We are already moving in this direction and I hope it will bring some results'. From the 1950s to the 1970s, Malaysia's cinematic role shifted slightly to the aftermath of war, either still fighting the Japanese, battling communists, or inching towards independence. In The 7th Dawn (1964), William Holden and Susannah York engage in firefights with the MCP on rubber plantations by day, and party on the lawns of Carcosa Seri Negara by night. Fast forward to the 1990s, and Malaysia trades fighting wars for the war on drugs. In Police Story 3: Supercop (1992), Jackie Chan and Michelle Yeoh chase drug lords across borders, while a gangster's wife ends up facing the death penalty for trafficking in Malaysia. In Return To Paradise (1998), Vince Vaughn and Joaquin Phoenix face impossible moral choices after one of them is sentenced to death for drug possession. At this point, you could be forgiven for thinking Malaysia is full of policemen chasing drug smugglers, with mayhem around every corner. But of course, there's a difference between cinematic perception and economic reality. Throughout the 1980s and 1990s, Malaysia in fact experienced over 7% GDP growth annually. A small acknowledgement of this was seen in Disclosure (1994) starring Michael Douglas and Demi Moore, where a significant plot point involved a CD-ROM factory in Malaysia, and how the Malaysian government would be grateful if it reduced automation and hired more workers (presumably because it would mean more jobs for locals). Then came Entrapment (1999), with Sean Connery and Catherine Zeta-Jones pulling off a heist inside the Petronas Twin Towers. At this point, Malaysia had graduated to high-tech, almost First World status, and worthy of thieves in skin-tight suits contorting their bodies between invisible laser beams. From there, the transition was clear. Besides the Mission: Impossible cameo, we are a key location for a cybercrime plot that Chris Hemsworth uncovers in Blackhat (2015), and this year we've graduated to housing a high-tech top secret black ops lab in the Thunderbolts* . This techno vibe isn't accidental. It mirrors Malaysia's rise as a global semiconductor hub, both in manufacturing and as part of the supply chain. The TV show Station Eleven (2021) gets it right by showing how modern KL hotels host tech companies from China whose execs want to make deals with partners from around the world. While all this is just a reflection of what Malaysia looks like to the world, I personally believe that this portrayal influences decisions. In 2024, Malaysia recorded a historic high of RM378.5bil in foreign investments. While analysts will credit data, forecasts, and economic indicators, I can't help but think that Malaysia's slick portrayal on the silver screen helps investors feel positive vibes in their gut as well. It just feels right to invest in a country that looks as technologically progressive as Malaysia. That said, why this shiny, blue-tinged Malaysia on screen? Why not scandals like disappearing planes or corrupt politicians? Well, maybe we're not as bad as we think we are. Most people accept MH370 as a mystery that may never be solved. And in the 2024 Corruption Perceptions Index, Malaysia ranked 57th out of 180 – not great, but better than average. Still, perceptions evolve. In the 2024 InterNations Expat Insider survey, Malaysia dropped from 4th to 22nd as a destination for expats, who cited inconsistent policies and 'a rise in anti-foreigner sentiment'. That's not a great look. Worse, the Standard of Living Index labels Malaysia 'First World economically, Third World socially', pointing to poor performance in human rights, media censorship, and religious freedom. There is a very strong possibility that I'm over analysing this whole thing. Directors use different colour filters to signify different things. And what aspects of a country are focused on also depends on what kinds of movies are fashionable right now. Whatever it is, maybe we should just enjoy this blue period while we can. In his fortnightly column, Contradictheory, mathematician-turned-scriptwriter Dzof Azmi explores the theory that logic is the antithesis of emotion but people need both to make sense of life's vagaries and contradictions. Write to Dzof at lifestyle@ The views expressed here are entirely the writer's own.
Newsweek
14-05-2025
- Entertainment
- Newsweek
Hollywood Doesn't Need Tariffs. It Needs Investment
Advocates for ideas and draws conclusions based on the interpretation of facts and data. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Recently, the Trump administration proposed a dramatic shift in U.S. trade policy: a 100 percent tariff on foreign-made films. On the surface, this might seem like a bold move to "bring Hollywood home"; a way to protect domestic productions, create more career opportunities within the United Statesw, and reclaim America's cultural dominance. But let's be clear: these tariffs won't revive the film industry. they'll hasten its downfall. Let's be real—Hollywood isn't just an American enterprise anymore. It hasn't been for a long time. It's an intricate, interdependent ecosystem that thrives on global exchange—financially, creatively, and logistically. Studios routinely shoot in Eastern Europe for its architectural authenticity, in Canada and Australia for tax incentives, and in Asia for breathtaking visuals and growing audiences. Even the most American of films, like Marvel's Thunderbolts, lean heavily on this international model. The film's adrenaline-pumping opening, featuring Florence Pugh's Yelena Belova leaping from Kuala Lumpur's Merdeka 118, wouldn't have had the same impact if shot in Burbank, California. The Hollywood sign on Mount Lee, in Los Angeles, California. The Hollywood sign on Mount Lee, in Los Angeles, we're seeing that global conversation play out in real time. This year's Cannes Film Festival will host a trio of highly anticipated premieres: The Phoenician Scheme, Eddington, and Highest to Lowest, Spike Lee's new film inspired by Kurosawa's 1963 classic High and Low. These aren't just overseas debuts, they're signals that film is thriving in conversation with the world. American stories are richer because they're in dialogue with other cultures—borrowing, adapting, and evolving. That's what tariffs threaten to unravel. Contrary to the administration's claims, Hollywood is one of the few American industries that has a trade surplus. In 2023, the U.S. earned more than $22.6 billion in film and television exports, with a trade surplus of $15.3 billion. This is art and business tied together. Hollywood's export success has been built on its global reach, with American films appealing to audiences everywhere. If these tariffs go into effect, countries may retaliate, slapping similar duties on American exports. That puts foreign markets, many of which are lifelines for Hollywood, at serious risk. A 100 percent tax on foreign-made films wouldn't just be economically shortsighted—it would undercut the very collaborative spirit that's kept Hollywood relevant. Film festivals like those at Cannes, Venice, and Toronto don't just celebrate global cinema; they launch careers, secure distribution deals, and shape award seasons. They're essential platforms, not luxury stops. Kill the pipeline to those stages, and you silence the voices that are reshaping the very definition of Hollywood. That goes for blockbusters too. Take Mission: Impossible – The Final Reckoning, a franchise that has consistently relied on overseas shoots and international markets to fuel its high-octane appeal. These are films made with—and for—the world. Without that global reach, the stakes change. The box office shrinks. The magic wanes. And it's not just the big-budget productions that stand to lose. Independent cinema—arguably the heart of artistic risk and innovation, would be devastated. A 100 percent tariff on foreign-made films would be an existential threat to indie filmmaking, far more damaging than to Hollywood's giants. Indie filmmakers often operate on razor-thin margins, relying on international shoots, co-productions, and foreign investors to make their visions real. These tariffs would effectively double their budgets, severing access to crucial funding from abroad and limiting U.S. distribution for foreign partners. That doesn't just inflate costs—it chokes off diverse, cross-cultural storytelling at the root. International films shaped my own love of cinema. Pan's Labyrinth and Crouching Tiger, Hidden Dragon opened my mind, as they did for many Americans, to fresh stories that explore different cultures, aesthetics, and human truths. That kind of exposure doesn't just inspire future filmmakers; it fosters empathy and curiosity, which are vital to both personal growth and the shared human experience. If this tariff goes through, it could close that window for the next generation of storytellers. It's important to remember that the reason so many productions go overseas isn't because Hollywood is broken, it's because other countries offer meaningful incentives. Tax breaks, streamlined permitting, and co-production deals make it feasible to dream bigger, stretch budgets, and take creative risks. If we want to bring production back to American soil, that's the blueprint, not punitive tariffs, but proactive investment. Let's talk economics. In 2024 alone, Hollywood lost nearly 15,000 jobs. Average payrolls in the motion picture industry are still down nearly 25 percent compared to pre-pandemic levels. The aftershocks of the 2023 strikes are still being felt. Adding tariffs on top of that? It would be like dousing the flames that are left. If the goal is to rejuvenate American filmmaking, there's a better way forward. Expand tax credits in states that are hungry for production. Invest in infrastructure that supports post-production and visual effects. Fund programs that empower new voices—especially from underrepresented communities—to tell stories that matter. Give crews stability and ensure that working in Hollywood doesn't mean working to the brink of burnout. In short: build the industry and incentivize it. Felipe Patterson is a freelance writer and entertainment journalist who has written for Watercooler HQ, Taji Mag, GQ South Africa and other outlets. He writes about film, television, and culture. The views expressed in this article are the writer's own.
