Isoler provides a comprehensive range of building integrity services to the public sector and the construction industry in the North of England.
We supply and install systems for fire protection, fire stopping, air sealing and acoustic separation to new and existing buildings. We provide an expert consultancy service.
We have been responsible for the fire protection in many of the landmark buildings in the North East region including the Metro Centre, St James’ Park and the Sage Gateshead. We have ongoing and recurring contracts with all the major construction companies in the region and we work in collaboration with local authorities and providers of social housing.
We have achieved this by pursuing one simple objective: to be the best.
We hope that our commitment to providing the highest quality workmanship is never put to the ultimate test. But if it is, we are certain it will save lives.
Intumescent paint systems – thin film coatings applied to steel to maintain structural integrity for up to 120 minutes. Rigid boarding systems – providing levels of fire protection for up to four hours. In addition, rigid boarding systems can achieve enhanced acoustic separation.Intumescent paint systems Rigid boarding systems
Fire barriers – to achieve compartmentation for integrity and insulation for up to 120 minutes. Fire and smoke barriers – compartment separation for integrity up to 120 minutes.Fire barriers Fire and smoke barriers
Sealing of service penetrations through compartment walls based on tested, proven systems and materials. All works are undertaken in accordance with Approved Document B and covered by third party warranty provided by FIRAS.
In line with the Government initiatives to reduce carbon emissions and to increase energy efficiency we work with the design team and architects to ensure that air leakage paths are identified and a physical barrier installed. All works undertaken meet the stringent guidelines in Approved Document L2A.
To install systems that help to reduce the sound transfer within buildings. This is achieved by the installation of tested systems including sealing of all penetrations and closing off open cavities.All works undertaken meet the stringent guidelines in Approved Document E.
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The Boxfuse Maven plugin lets you execute the various commands directly from your Maven build.
You can start using the Boxfuse Maven plugin by adding the following to the appropriate sections of your POM:
( Note: make sure to use at least Maven 3.3.3 as prior versions have issues with TLS/SSL. If you are unable to upgrade you can use http instead.)Note: at least Maven 3.3.3 <user> </user> <secret> </secret>
You can find your credentials on the downloads tab in the
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Alternatively credentials can also be passed in via the
Boxfuse is opinionated, favors convention over configuration and comes with sensible defaults .convention over configuration sensible defaults
You can override these defaults by either configuring the plugin, adding Maven properties or passing in System properties. You can also either specify an external config file or place a
file in either the current directory or under .boxfuse in your home directory.
Higher items on the list override lower ones:
Setting a property to an empty string with unset that property.
Config files with
, for example
Besides configuring credentials through one of the configuration mechanisms described above, you have a few other ways to pass in authentication info.
Maven makes it also possible to externalize credentials using its
file. Boxfuse supports both regular and encrypted passwords.
Alternatively you can also pass in your Boxfuse credentials by setting the
If your network requires you to use a proxy to connect to the outside world, you have two options.
You can either configure Maven to use a proxy . The Boxfuse Maven plugin will then automatically pick up those settings and use them.
Or you can tell Boxfuse directly to use a proxy (this will take precedence over any proxies configured in Gradle as described above):
So when taking photos with symmetrical composition, take your time to ensure your iPhone is parallel with your subject. It’s well worth the patience and effort to get it just right.
The vertical line of symmetryruns right down the middle of the image from top to bottom, creating an image with similar left and right sides.Look for objects with vertical lines in the scene in front of you, for example, trees, doors, paths, architecture, etc.
This composition of a doorway works particularly well because all of the lines around the edge of the image lead to the door.Again, the most important part of shooting something like a door is keeping your iPhone parallel to it.
Usually, to enhance the vertical lines, it’s best tohold your iPhone vertically in portrait orientation with the home button atthe bottom. This provides the maximum amount of space for your symmetry on each side.
Holding the iPhone vertically in portraitorientation, as opposed to horizontally inlandscapeorientation, enhances the vertical symmetry in this image.
If I were to hold the iPhone in a landscape orientation, there would be too much room on either side of the windows and probably not enough space to capture the light on the floor. In other words, the composition would be weaker.
The horizontal line of symmetryruns acrossthe middle of the image from left to right, creating an image with a similar top and bottom. To best showcase the symmetry in these kind of images, you’ll want to hold your iPhone horizontally in landscape orientation.
The easiest place to find a horizontal line of symmetry is in a calm lake. The
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of anything in the sky and along the shoreline make for an easy symmetrical image.
Of course, there are more images with horizontal symmetry to create than just reflections. Keep an eye out for lines that run horizontally in other types of scene where you could create a well balanced symmetrical photo.
While this isn’t a perfect mirror image, there is horizontal symmetry going on. If you cut the image in half horizontally, most of the image lines up symmetrically, with the exception of the missing bricks on the bottom of the image.
Symmetry doesn’t have to be perfect to add balance and harmony to your image, and the above example demonstrates this.
Composition is key in symmetrical images. When you spot a scene that has symmetrical balance, keep in mind that your line of symmetry should be centered within the composition. This applies to both horizontal and vertical lines of symmetry.
There is a lot of misinformation around about what the terms ‘audible’, ‘inaudible’ and ‘ultrasound’ mean. This post aims to give readers a better understanding of each, the reasons behind some of the confusion, and why the differences here matter.
Simply put, the term ‘audible’ means ‘able to be heard’. This may seem blindingly obvious, but as we’ll see — it sets the scene for more subtle distinctions later in this discussion.
When we say that we are ‘able to hear’ something, we are making a statement about several different characteristics of a particular sound and its acoustic context. Each of these qualities must be within certain ranges in order for the human auditory system to detect a sound.
A couple of the most significant qualities affecting human hearing of particular sounds:
Let’s assume here that the first one is controlled by us — that we have quiet conditions for listening, so that the main remaining 2 factors become a sound’s loudness and its frequency composition.
In terms of frequencies, the common definition for the human audible frequency range is 20Hz and 20kHz  — however our ear’s sensitivity to sound varies dramatically over this range.
Our ear is most sensitive between the ranges of ~2kHz and ~5kHz (see the dip in the graph above). This range of particular sensitivity corresponds directly to the main frequency components of human speech.
In our most sensitive frequency regions we are able to perceive sound pressure levels of under 20μPa — this corresponds to the vibrating air molecules which together constitute audible sounds over incredibly small distances, on the order of 1/100 of a millionth of a centimetre, or 1/10th the diameter of a hydrogen molecule .
This sensitivity changes not only with frequency of the sound, but with the age of the listener — with younger folk having a much greater sensitivity to higher frequency sounds. There are many different ways a person can lose hearing sensitivity, most commonly this happens as a natural process of ageing as we (unlike frogs fish) gradually loose the tiny hair cells in the inner ear ( presbycusis ) which translate vibration to electrical impulses finally interpreted by the brain.
Inaudible then — ‘unable to be heard’.
There may be multiple potential reasons for this — a sound could be inaudible over the background noise level (i.e. ‘masked’), could be outside the human audible frequency range, or be too quiet to be heard even in ideal listening conditions.