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Edinburgh Napier University was the first to develop thin membrane vibration isolators (2005) to allow party walls in new attached homes to be built off raft foundations. This led to the first Proof of Concept for the construction industry (2008) for perimeter isolators for blockwork apartments. Several patents have been granted leading to nine products manufactured by Icopal-Monarfloor, based in Manchester (UK), part of the Icopal global group. Over 15,000 homes have been built using these innovative isolators, delivering cost savings to the industry of over £80 million resulting in economic, environmental and quality of life benefits.
Applied acoustics in the built environment and its broader uptake is focused on the development and commercial adoption of techniques and technologies resulting from research in applied acoustics, demonstrating the following impact:
The impact of building acoustics research by the Acoustics Research Unit at Liverpool has been through knowledge transfer into Standardisation, guidance to industry and take-up by test laboratories. This is evidenced by the active and leading participation of Professor Gibbs and Dr Hopkins on International and European Standards committees, developing measurement and prediction methods for noise in buildings. The research provides the scientific basis of new test codes used by accredited test laboratories and acoustic consultants. It is also feeding into new test procedures developed by R&D teams of Boeing, Seattle, for the control of vibration-induced noise in aircraft.
The group's forensic research into housing energy and carbon performance has established the existence of "performance gap" between designed energy performance and that achieved in completed dwellings. This seminal work has led to revisions in Building Regulations, shaped Government policy on zero carbon housing standards and is enabling the house building industry, including its supply chain, to re-evaluate technology and processes. Considerable benefit will flow from government and industry actions to close the gap, leading to the realisation of significant reductions in greenhouse gas emissions, improved processes & technology, improved skills & knowledge, lower energy bills and more comfortable homes.
This study presents the impact of research by Plymouth's Environmental Building Group (EBG) and Centre for Earthen Architecture (CEA) on industry and regulatory bodies. These interconnected groups research the manufacture, construction, preservation and performance (thermal, hygral and acoustic) of new and old buildings of diverse construction, including earth, straw-bale and hemp-lime. EBG/CEA research has impacted the energy consumption of 690+ homeowners (21st Century Living; DECC/Eden) and contributed to national standards for construction and conservation (BRE/DEBA/English Heritage). Industry partnerships/projects include: Zero Carbon House, Kevin McCabe Ltd; Carfrae Sustainable Design; Hukseflux; Cornish Lime Company.
In research that challenges the dichotomy of music/ noise, Drever has investigated the properties and subjective effects of the high volumes produced by ultrafast hand dryers, finding that it is highly aversive for vulnerable groups including people with dementia, sensory impairments, and autistic spectrum disorders, in some cases exacerbating their social avoidance. These effects have been communicated to the public, industry professionals, and policymakers through a combination of creative art works and presentations of the research findings in varied public settings. They have been widely reported in the international media, via both general interest and specialist publications and programmes. He has worked closely with the UK's Noise Abatement Society and with industrial designers, who have welcomed his input to helping them improve hand dryer design.
Theoretical and experimental research on urban sound environments has been carried out by Professor Kang and his team at the University of Sheffield since 1999. This includes acoustic theories and models for urban sound propagation, soundscape theory and framework, and acoustic theories for sustainable building elements. Consequently, they have developed design guides/ tools that have become common standards in professional practice; invented sustainable low-noise products that have led to commercial outputs; organised networks and workshops that have set up the practice agenda for designing better urban sound environments; and delivered keynote presentations to international audiences of planning professionals and government policy-making organisations.
The Research Centre for Creative Research in Sound Arts Practice (CRiSAP) works to develop, extend and support the emerging disciplinary field of sound arts, and has played a role in defining, scoping and shaping contemporary sound arts practice. This case study demonstrates impact on the creative community, museums and galleries, and the general public, with work reaching a wide audience and developing a greater recognition and understanding of sound and sound arts.
Over the past 13 years the University of Bath has been leading research into low-impact bio-based construction materials, including the construction and testing of two full-scale prototype buildings: BaleHaus (2009) and HemPod (2010) built on campus. The research has directly promoted: the development and wider market acceptance of award winning low carbon construction products (ModCell® and Hemcrete®); successful delivery of award winning buildings; and the wider sector uptake of these technologies, including in a new school building in Bath. The work has directly benefited industry partners working to meet UK Government policy requirements to deliver low carbon infrastructure and benefited society through the delivery of affordable sustainable buildings.
Ross Brown's research has been instrumental in shaping theatre sound into a specialist discipline in its own right. It has influenced the practices, organisation and status of sound within professional theatre. Constructing a dialogue with a potentially hostile theatre industry over two decades, Brown's central formulation of a `dramaturgy of sound' has changed the ways in which theatre professionals, independent artists, academics and specialist students think about and work with sound. In doing so it has helped make sound design a more central artistic consideration of theatre production and thus raised its profile in the industry.