Concepts and methods for efficient decentralized learning in federated settings

Deep Neural Networks (DNNs) have revolutionized a wide range of applications beyond traditional machine learning and artificial intelligence fields, e.g., computer vision, healthcare, natural language processing and others. At the same time, edge devices have become central in our society, generating an unprecedented amount of data which could be used to train data-hungry models such as DNNs. However, the potentially sensitive or confidential nature of gathered data poses privacy concerns when storing and processing them in centralized locations. To this purpose, decentralized learning decouples model training from the need of directly accessing raw data, by alternating on-device training and periodic communications. The ability of distilling knowledge from decentralized data, however, comes at the cost of facing more challenging learning settings, such as coping with heterogeneous hardware and network connectivity, statistical diversity of data, and ensuring verifiable privacy guarantees. This Thesis proposes an extensive overview of decentralized learning literature, including a novel taxonomy and a detailed description of the most relevant system-level contributions in the related literature for privacy, communication efficiency, data and system heterogeneity, and poisoning defense. Next, this Thesis presents the design of an original solution to tackle communication efficiency and system heterogeneity, and empirically evaluates it on federated settings. For communication efficiency, an original method, specifically designed for Convolutional Neural Networks, is also described and evaluated against the state-of-the-art. Furthermore, this Thesis provides an in-depth review of recently proposed methods to tackle the performance degradation introduced by data heterogeneity, followed by empirical evaluations on challenging data distributions, highlighting strengths and possible weaknesses of the considered solutions. Finally, this Thesis presents a novel perspective on the usage of Knowledge Distillation as a mean for optimizing decentralized learning systems in settings characterized by data heterogeneity or system heterogeneity. Our vision on relevant future research directions close the manuscript.

Security and privacy of resource constrained devices

The thesis aims to present a comprehensive and holistic overview on cybersecurity and privacy & data protection aspects related to IoT resource-constrained devices. Chapter 1 introduces the current technical landscape by providing a working definition and architecture taxonomy of ‘Internet of Things’ and ‘resource-constrained devices’, coupled with a threat landscape where each specific attack is linked to a layer of the taxonomy. Chapter 2 lays down the theoretical foundations for an interdisciplinary approach and a unified, holistic vision of cybersecurity, safety and privacy justified by the ‘IoT revolution’ through the so-called infraethical perspective. Chapter 3 investigates whether and to what extent the fast-evolving European cybersecurity regulatory framework addresses the security challenges brought about by the IoT by allocating legal responsibilities to the right parties. Chapters 4 and 5 focus, on the other hand, on ‘privacy’ understood by proxy as to include EU data protection. In particular, Chapter 4 addresses three legal challenges brought about by the ubiquitous IoT data and metadata processing to EU privacy and data protection legal frameworks i.e., the ePrivacy Directive and the GDPR. Chapter 5 casts light on the risk management tool enshrined in EU data protection law, that is, Data Protection Impact Assessment (DPIA) and proposes an original DPIA methodology for connected devices, building on the CNIL (French data protection authority) model.

Modellizzazione numerica e caratterizzazione sperimentale di macchine e componenti oleodinamici

Nella prima parte di questa tesi di dottorato sono presentate le attività svolte, di carattere numerico, ai fini della modellizzazione di macchine volumetriche ad ingranaggi esterni. In particolare viene dapprima presentato un modello a parametri concentrati utilizzato per l’analisi dei fenomeni che coinvolgono l’area di ingranamento della macchina; un codice di calcolo associato al modello è stato sviluppato ed utilizzato per la determinazione dell’influenza delle condizioni di funzionamento e delle caratteristiche geometriche della macchina sulle sovra-pressioni e sull’eventuale instaurarsi della cavitazione nei volumi tra i denti che si trovano nell’area di ingranamento. In seguito vengono presentati i risultati ottenuti dall’analisi del bilanciamento assiale di diverse unità commerciali, evidenziando l’influenza delle caratteristiche geometriche delle fiancate di bilanciamento; a questo proposito, viene presentato anche un semplice modello a parametri concentrati per valutare il rendimento volumetrico della macchina ad ingranaggi esterni, con l’intenzione di usare tale parametro quale indice qualitativo della bontà del bilanciamento assiale. Infine, viene presentato un modello completo della macchina ad ingranaggi esterni, realizzato in un software commerciale a parametri concentrati, che permette di analizzare nel dettaglio il funzionamento della macchina e di studiare anche l’interazione della stessa con il circuito idraulico in cui è inserita. Nella seconda parte della tesi si presentano le attività legate alla messa in funzione di due banchi prova idraulici per la caratterizzazione sperimentale di macchine volumetriche e componenti di regolazione, con particolare attenzione dedicata alla messa a punto del sistema di acquisizione e gestione dei dati sperimentali; si presentano infine i risultati di alcune prove eseguite su componenti di regolazione e macchine volumetriche.

Studio del comportamento meccanico di smalti porcellanati per substrati metallici

Composite porcelain enamels are inorganic coatings for metallic components based on a special ceramic-vitreous matrix in which specific additives are randomly dispersed. The ceramic-vitreous matrix is made by a mixture of various raw materials and elements and in particular it is based on boron-silicate glass added with metal oxides(1) of titanium, zinc, tin, zirconia, alumina, ecc. These additions are often used to improve and enhance some important performances such as corrosion(2) and wear resistance, mechanical strength, fracture toughness and also aesthetic functions. The coating process, called enamelling, depends on the nature of the surface, but also on the kind of the used porcelain enamel. For metal sheets coatings two industrial processes are actually used: one based on a wet porcelain enamel and another based on a dry-silicone porcelain enamel. During the firing process, that is performed at about 870°C in the case of a steel substrate, the enamel raw material melts and interacts with the metal substrate so enabling the formation of a continuous varying structure. The interface domain between the substrate and the external layer is made of a complex material system where the ceramic vitreous and the metal constituents are mixed. In particular four main regions can be identified, (i) the pure metal region, (ii) the region where the metal constituents are dominant compared with the ceramic vitreous components, (iii) the region where the ceramic vitreous constituents are dominant compared with the metal ones, and the fourth region (iv) composed by the pure ceramic vitreous material. It has also to be noticed the presence of metallic dendrites that hinder the substrate and the external layer passing through the interphase region. Each region of the final composite structure plays a specific role: the metal substrate has mainly the structural function, the interphase region and the embedded dendrites guarantee the adhesion of the external vitreous layer to the substrate and the external vitreous layer is characterized by an high tribological, corrosion and thermal shock resistance. Such material, due to its internal composition, functionalization and architecture can be considered as a functionally graded composite material. The knowledge of the mechanical, tribological and chemical behavior of such composites is not well established and the research is still in progress. In particular the mechanical performances data about the composite coating are not jet established. In the present work the Residual Stresses, the Young modulus and the First Crack Failure of the composite porcelain enamel coating are studied. Due to the differences of the porcelain composite enamel and steel thermal properties the enamelled steel sheets have residual stresses: compressive residual stress acts on the coating and tensile residual stress acts on the steel sheet. The residual stresses estimation has been performed by measuring the curvature of rectangular one-side coated specimens. The Young modulus and the First Crack Failure (FCF) of the coating have been estimated by four point bending tests (3-7) monitored by means of the Acoustic Emission (AE) technique(5,6). In particular the AE information has been used to identify, during the bending tests, the displacement domain over which no coating failure occurs (Free Failure Zone, FFZ). In the FFZ domain, the Young modulus has been estimated according to ASTM D6272-02. The FCF has been calculated as the ratio between the displacement at the first crack of the coating and the coating thickness on the cracked side. The mechanical performances of the tested coated specimens have also been related and discussed to respective microstructure and surface characteristics by double entry charts.

La costruzione razionale della casa. Scritti e progetti di Giuseppe Pagano

The rational construction of the house. The writings and projects of Giuseppe Pagano Description, themes and research objectives The research aims at analysing the architecture of Giuseppe Pagano, which focuses on the theme of dwelling, through the reading of 3 of his house projects. On the one hand, these projects represent “minor” works not thoroughly known by Pagano’s contemporary critics; on the other they emphasise a particular methodological approach, which serves the author to explore a theme closely linked to his theoretical thought. The house project is a key to Pagano’s research, given its ties to the socio-cultural and political conditions in which the architect was working, so that it becomes a mirror of one of his specific and theoretical path, always in a state of becoming. Pagano understands architecture as a “servant of the human being”, subject to a “utilitarian slavery” since it is a clear, essential and “modest” answer to specific human needs, free from aprioristic aesthetic and formal choices. It is a rational architecture in sensu stricto; it constitutes a perfect synthesis between cause and effect and between function and form. The house needs to accommodate these principles because it is closely intertwined with human needs and intimately linked to a specific place, climatic conditions and technical and economical possibilities. Besides, differently from his public and common masterpieces such as the Palazzo Gualino, the Istituto di Fisica and the Università Commerciale Bocconi, the house projects are representative of a precise project will, which is expressed in a more authentic way, partially freed from political influences and dogmatic preoccupations and, therefore, far from the attempt to research a specific expressive language. I believe that the house project better represents that “ingenuity”, freshness and “sincerity” that Pagano identifies with the minor architecture, thereby revealing a more authentic expression of his understanding of a project. Therefore, the thesis, by tracing the theoretical research of Pagano through the analysis of some of his designed and built works, attempts to identify a specific methodological approach to Pagano’s project, which, developed through time, achieves a certain clarity in the 1930s. In fact, this methodological approach becomes more evident in his last projects, mainly regarding the house and the urban space. These reflect the attempt to respond to the new social needs and, at the same time, they also are an expression of a freer idea of built architecture, closely linked with the place and with the human being who dwells it. The three chosen projects (Villa Colli, La Casa a struttura d’acciaio and Villa Caraccio) make Pagano facing different places, different customers and different economic and technical conditions, which, given the author’s biography, correspond to important historical and political conditions. This is the reason why the projects become apparently distant works, both linguistically and conceptually, to the point that one can define them as ”eclectic”. However, I argue that this eclecticism is actually an added value to the architectural work of Pagano, steaming from the use of a method which, having as a basis the postulate of a rational architecture as essence and logic of building, finds specific variations depending on the multiple variables to be addressed by the project. This is the methodological heritage that Pagano learns from the tradition, especially that of the rural residential architecture, defined by Pagano as a “dictionary of the building logic of man”, as an “a-stylistic background”. For Pagano this traditional architecture is a clear expression of the relationships between a theme and its development, an architectural “fact” that is resolved with purely technical and utilitarian aims and with a spontaneous development far from any aprioristic theoretical principle. Architecture, therefore, cannot be an invention for Pagano and the personal contribution of each architect has to consider his/her close relationship with the specific historical context, place and new building methods. These are basic principles in the methodological approach that drives a great deal of his research and that also permits his thought to be modern. I argue that both ongoing and new collaborations with younger protagonists of the culture and architecture of the period are significant for the development of his methodology. These encounters represent the will to spread his own understanding of the “new architecture” as well as a way of self-renewal by confronting the self with new themes and realities and by learning from his collaborators. Thesis’ outline The thesis is divided in two principal parts, each articulated in four chapters attempting to offer a new reading of the theory and work of Pagano by emphasising the central themes of the research. The first chapter is an introduction to the thesis and to the theme of the rational house, as understood and developed in its typological and technical aspects by Pagano and by other protagonists of the Italian rationalism of the 1930s. Here the attention is on two different aspects defining, according to Pagano, the house project: on the one hand, the typological renewal, aimed at defining a “standard form” as a clear and essential answer to certain needs and variables of the project leading to different formal expressions. On the other, it focuses on the building, understood as a technique to “produce” architecture, where new technologies and new materials are not merely tools but also essential elements of the architectural work. In this way the villa becomes different from the theme of the common house or from that of the minimalist house, by using rules in the choice of material and in the techniques that are every time different depending on the theme under exploration and on the contingency of place. It is also visible the rigorous rationalism that distinguishes the author's appropriation of certain themes of rural architecture. The pages of “Casabella” and the events of the contemporary Triennali form the preliminary material for the writing of this chapter given that they are primary sources to individuate projects and writings produced by Pagano and contemporary architects on this theme. These writings and projects, when compared, reconstruct the evolution of the idea of the rational house and, specifically, of the personal research of Pagano. The second part regards the reading of three of Pagano’s projects of houses as a built verification of his theories. This section constitutes the central part of the thesis since it is aimed at detecting a specific methodological approach showing a theoretical and ideological evolution expressed in the vast edited literature. The three projects that have been chosen explore the theme of the house, looking at various research themes that the author proposes and that find continuity in the affirmation of a specific rationalism, focussed on concepts such as essentiality, utility, functionality and building honesty. These concepts guide the thought and the activities of Pagano, also reflecting a social and cultural period. The projects span from the theme of the villa moderna, Villa Colli, which, inspired by the architecture of North Europe, anticipates a specific rationalism of Pagano based on rigour, simplicity and essentiality, to the theme of the common house, Casa a struttura d’acciaio, la casa del domani, which ponders on the definition of new living spaces and, moreover, on new concepts of standardisation, economical efficiency and new materials responding to the changing needs of the modern society. Finally, the third project returns to the theme of the, Villa Caraccio, revisiting it with new perspectives. These perspectives find in the solution of the open plant, in the openness to nature and landscape and in the revisiting of materials and local building systems that idea of the freed house, which express clearly a new theoretical thought. Methodology It needs to be noted that due to the lack of an official Archive of Pagano’s work, the analysis of his work has been difficult and this explains the necessity to read the articles and the drawings published in the pages of «Casabella» and «Domus». As for the projects of Villa Colli and Casa a struttura d’acciaio, parts of the original drawings have been consulted. These drawings are not published and are kept in private archives of the collaborators of Pagano. The consultation of these documents has permitted the analysis of the cited works, which have been subject to a more complete reading following the different proposed solutions, which have permitted to understand the project path. The projects are analysed thought the method of comparison and critical reading which, specifically, means graphical elaborations and analytical schemes, mostly reconstructed on the basis of original projects but, where possible, also on a photographic investigation. The focus is on the project theme which, beginning with a specific living (dwelling) typology, finds variations because of the historico-political context in which Pagano is embedded and which partially shapes his research and theoretical thought, then translated in the built work. The analysis of the work follows, beginning, where possible, from a reconstruction of the evolution of the project as elaborated on the basis of the original documents and ending on an analysis of the constructive principles and composition. This second phase employs a methodology proposed by Pagano in his article Piante di ville, which, as expected, focuses on the plant as essential tool to identify the “true practical and poetic qualities of the construction”(Pagano, «Costruzioni-Casabella», 1940, p. 2). The reading of the project is integrated with the constructive analyses related to the technical aspects of the house which, in the case of Casa a struttura d’acciaio, play an important role in the project, while in Villa Colli and in Villa Caraccio are principally linked to the choice of materials for the construction of the different architectural elements. These are nonetheless key factors in the composition of the work. Future work could extend this reading to other house projects to deepen the research that could be completed with the consultation of Archival materials, which are missing at present. Finally, in the appendix I present a critical selection of the Pagano’s writings, which recall the themes discussed and embodied by the three projects. The texts have been selected among the articles published in Casabella and in other journals, completing the reading of the project work which cannot be detached from his theoretical thought. Moving from theory to project, we follow a path that brings us to define and deepen the central theme of the thesis: rational building as the principal feature of the architectural research of Pagano, which is paraphrased in multiple ways in his designed and built works.

Rafael Moneo: la complessità del vuoto. Dalle matrici formali dell'opera di Oteiza e Chillida

The experience of void, essential to the production of forms and to make use them, can be considered as the base of the activities that attend to the formative processes. If void and matter constitutes the basic substances of architecture. Their role in the definition of form, the symbolic value and the constructive methods of it defines the quality of the space. This job inquires the character of space in the architecture of Moneo interpreting the meaning of the void in the Basque culture through the reading of the form matrices in the work of Jorge Oteiza and Eduardo Chillida. In the tie with the Basque culture a reading key is characterized by concurring to put in relation some of the theoretical principles expressed by Moneo on the relationship between place and time, in an unique and specific vision of the space. In the analysis of the process that determines the genesis of the architecture of Moneo emerges a trajectory whose direction is constructed on two pivos: on the one hand architecture like instrument of appropriation of the place, gushed from an acquaintance process who leans itself to the reading of the relations that define the place and of the resonances through which measuring it, on the other hand the architecture whose character is able to represent and to extend the time in which he is conceived, through the autonomy that is conferred to them from values. Following the trace characterized from this hypothesis, that is supported on the theories elaborated from Moneo, surveying deepens the reading of the principles that construct the sculptural work of Oteiza and Chillida, features from a search around the topic of the void and to its expression through the form. It is instrumental to the definition of a specific area that concurs to interpret the character of the space subtended to a vision of the place and the time, affine to the sensibility of Moneo and in some way not stranger to its cultural formation. The years of the academic formation, during which Moneo enters in contact with the Basque artistic culture, seem to be an important period in the birth of that knowledge that will leads him to the formulation of theories tied to the relationship between time, place and architecture. The values expressed through the experimental work of Oteiza and Chillida during years '50 are valid bases to the understanding of such relationships. In tracing a profile of the figures of Oteiza and Chillida, without the pretension that it is exhaustive for the reading of the complex historical period in which they are placed, but with the needs to put the work in a context, I want to be evidenced the important role carried out from the two artists from the Basque cultural area within which Moneo moves its first steps. The tie that approaches Moneo to the Basque culture following the personal trajectory of the formative experience interlaces to that one of important figures of the art and the Spanish architecture. One of the more meaningful relationships is born just during the years of his academic formation, from 1958 to the 1961, when he works like student in the professional office of the architect Francisco Sáenz de Oiza, who was teaching architectural design at the ETSAM. In these years many figures of Basque artists alternated at the professional office of Oiza that enjoys the important support of the manufacturer and maecenas Juan Huarte Beaumont, introduced to he from Oteiza. The tie between Huarte and Oteiza is solid and continuous in the years and it realizes in a contribution to many of the initiatives that makes of Oteiza a forwarder of the Basque culture. In the four years of collaboration with Oiza, Moneo has the opportunity to keep in contact with an atmosphere permeated by a constant search in the field of the plastic art and with figures directly connected to such atmosphere. It’s of a period of great intensity as in the production like in the promotion of the Basque art. The collective “Blanco y Negro”, than is held in 1959 at the Galería Darro to Madrid, is only one of the many times of an exhibition of the work of Oteiza and Chillida. The end of the Fifties is a period of international acknowledgment for Chillida that for Oteiza. The decade of the Fifties consecrates the hypotheses of a mythical past of the Basque people through the spread of the studies carried out in the antecedent years. The archaeological discoveries that join to a context already rich of signs of the prehistoric era, consolidate the knowledge of a strong cultural identity. Oteiza, like Chillida and other contemporary artists, believe in a cosmogonist conception belonging to the Basques, connected to their matriarchal mythological past. The void in its meaning of absence, in the Basque culture, thus as in various archaic and oriental religions, is equivalent to the spiritual fullness as essential condition to the revealing of essence. Retracing the archaic origins of the Basque culture emerges the deep meaning that the void assumes as key element in the religious interpretation of the passage from the life to the death. The symbology becomes rich of meaningful characters who derive from the fact that it is a chthonic cult. A representation of earth like place in which divine manifest itself but also like connection between divine and human, and this manipulation of the matter of which the earth it is composed is the tangible projection of the continuous search of the man towards God. The search of equilibrium between empty and full, that characterizes also the development of the form in architecture, in the Basque culture assumes therefore a peculiar value that returns like constant in great part of the plastic expressions, than in this context seem to be privileged regarding the other expressive forms. Oteiza and Chillida develop two original points of view in the representation of the void through the form. Both use of rigorous systems of rules sensitive to the physics principles and the characters of the matter. The last aim of the Oteiza’s construction is the void like limit of the knowledge, like border between known and unknown. It doesn’t means to reduce the sculptural object to an only allusive dimension because the void as physical and spiritual power is an active void, that possesses that value able to reveal the being through the trace of un-being. The void in its transcendental manifestation acts at the same time from universal and from particular, like in the atomic structure of the matter, in which on one side it constitutes the inner structure of every atom and on the other one it is necessary condition to the interaction between all the atoms. The void can be seen therefore as the action field that concurs the relations between the forms but is also the necessary condition to the same existence of the form. In the construction of Chillida the void represents that counterpart structuring the matter, inborn in it, the element in absence of which wouldn’t be variations neither distinctive characters to define the phenomenal variety of the world. The physics laws become the subject of the sculptural representation, the void are the instrument that concurs to catch up the equilibrium. Chillida dedicate himself to experience the space through the senses, to perceive of the qualities, to tell the physics laws which forge the matter in the form and the form arranges the places. From the artistic experience of the two sculptors they can be transposed, to the architectonic work of Moneo, those matrices on which they have constructed their original lyric expressions, where the void is absolute protagonist. An ambit is defined thus within which the matrices form them drafts from the work of Oteiza and Chillida can be traced in the definition of the process of birth and construction of the architecture of Moneo, but also in the relation that the architecture establishes with the place and in the time. The void becomes instrument to read the space constructed in its relationships that determine the proportions, rhythms, and relations. In this way the void concurs to interpret the architectonic space and to read the value of it, the quality of the spaces constructing it. This because it’s like an instrument of the composition, whose role is to maintain to the separation between the elements putting in evidence the field of relations. The void is that instrument that serves to characterize the elements that are with in the composition, related between each other, but distinguished. The meaning of the void therefore pushes the interpretation of the architectonic composition on the game of the relations between the elements that, independent and distinguished, strengthen themselves in their identity. On the one hand if void, as measurable reality, concurs all the dimensional changes quantifying the relationships between the parts, on the other hand its dialectic connotation concurs to search the equilibrium that regulated such variations. Equilibrium that therefore does not represent an obtained state applying criteria setting up from arbitrary rules but that depends from the intimate nature of the matter and its embodiment in the form. The production of a form, or a formal system that can be finalized to the construction of a building, is indissolubly tied to the technique that is based on the acquaintance of the formal vocation of the matter, and what it also can representing, meaning, expresses itself in characterizing the site. For Moneo, in fact, the space defined from the architecture is above all a site, because the essence of the site is based on the construction. When Moneo speaks about “birth of the idea of plan” like essential moment in the construction process of the architecture, it refers to a process whose complexity cannot be born other than from a deepened acquaintance of the site that leads to the comprehension of its specificity. Specificity arise from the infinite sum of relations, than for Moneo is the story of the oneness of a site, of its history, of the cultural identity and of the dimensional characters that that they are tied to it beyond that to the physical characteristics of the site. This vision is leaned to a solid made physical structure of perceptions, of distances, guideline and references that then make that the process is first of all acquaintance, appropriation. Appropriation that however does not happen for directed consequence because does not exist a relationship of cause and effect between place and architecture, thus as an univocal and exclusive way does not exist to arrive to a representation of an idea. An approach that, through the construction of the place where the architecture acquires its being, searches an expression of its sense of the truth. The proposal of a distinction for areas like space, matter, spirit and time, answering to the issues that scan the topics of the planning search of Moneo, concurs a more immediate reading of the systems subtended to the composition principles, through which is related the recurrent architectonic elements in its planning dictionary. From the dialectic between the opposites that is expressed in the duality of the form, through the definition of a complex element that can mediate between inside and outside as a real system of exchange, Moneo experiences the form development of the building deepening the relations that the volume establishes in the site. From time to time the invention of a system used to answer to the needs of the program and to resolve the dual character of the construction in an only gesture, involves a deep acquaintance of the professional practice. The technical aspect is the essential support to which the construction of the system is indissolubly tied. What therefore arouses interest is the search of the criteria and the way to construct that can reveal essential aspects of the being of the things. The constructive process demands, in fact, the acquaintance of the formative properties of the matter. Property from which the reflections gush on the relations that can be born around the architecture through the resonance produced from the forms. The void, in fact, through the form is in a position to constructing the site establishing a reciprocity relation. A reciprocity that is determined in the game between empty and full and of the forms between each other, regarding around, but also with regard to the subjective experience. The construction of a background used to amplify what is arranged on it and to clearly show the relations between the parts and at the same time able to tie itself with around opening the space of the vision, is a system that in the architecture of Moneo has one of its more effective applications in the use of the platform used like architectonic element. The spiritual force of this architectonic gesture is in the ability to define a place whose projecting intention is perceived and shared with who experience and has lived like some instrument to contact the cosmic forces, in a delicate process that lead to the equilibrium with them, but in completely physical way. The principles subtended to the construction of the form taken from the study of the void and the relations that it concurs, lead to express human values in the construction of the site. The validity of these principles however is tested from the time. The time is what Moneo considers as filter that every architecture is subordinate to and the survival of architecture, or any of its formal characters, reveals them the validity of the principles that have determined it. It manifests thus, in the tie between the spatial and spiritual dimension, between the material and the worldly dimension, the state of necessity that leads, in the construction of the architecture, to establish a contact with the forces of the universe and the intimate world, through a process that translate that necessity in elaboration of a formal system.

Parallel modeling of the electric field distribution in the brain

The term "Brain Imaging" identi�es a set of techniques to analyze the structure and/or functional behavior of the brain in normal and/or pathological situations. These techniques are largely used in the study of brain activity. In addition to clinical usage, analysis of brain activity is gaining popularity in others recent �fields, i.e. Brain Computer Interfaces (BCI) and the study of cognitive processes. In this context, usage of classical solutions (e.g. f MRI, PET-CT) could be unfeasible, due to their low temporal resolution, high cost and limited portability. For these reasons alternative low cost techniques are object of research, typically based on simple recording hardware and on intensive data elaboration process. Typical examples are ElectroEncephaloGraphy (EEG) and Electrical Impedance Tomography (EIT), where electric potential at the patient's scalp is recorded by high impedance electrodes. In EEG potentials are directly generated from neuronal activity, while in EIT by the injection of small currents at the scalp. To retrieve meaningful insights on brain activity from measurements, EIT and EEG relies on detailed knowledge of the underlying electrical properties of the body. This is obtained from numerical models of the electric �field distribution therein. The inhomogeneous and anisotropic electric properties of human tissues make accurate modeling and simulation very challenging, leading to a tradeo�ff between physical accuracy and technical feasibility, which currently severely limits the capabilities of these techniques. Moreover elaboration of data recorded requires usage of regularization techniques computationally intensive, which influences the application with heavy temporal constraints (such as BCI). This work focuses on the parallel implementation of a work-flow for EEG and EIT data processing. The resulting software is accelerated using multi-core GPUs, in order to provide solution in reasonable times and address requirements of real-time BCI systems, without over-simplifying the complexity and accuracy of the head models.

Ignazio Gardella, metodo e linguaggio nel progetto della residenza

La ricerca inquadra all’interno dell’opera dell’autore, lo specifico tema della residenza. Esso costituisce il campo di applicazione del progetto di architettura, in cui più efficacemente ricercare i tratti caratteristici del metodo progettuale dell’architetto, chiave di lettura dello studio proposto. Il processo che giunge alla costituzione materiale dell’architettura, viene considerato nelle fasi in cui è scomposto, negli strumenti che adotta, negli obbiettivi che si pone, nel rapporto con i sistemi produttivi, per come affronta il tema della forma e del programma e confrontato con la vasta letteratura presente nel pensiero di alcuni autori vicini a Ignazio Gardella. Si definiscono in tal modo i tratti di una metodologia fortemente connotata dal realismo, che rende coerente una ricerca empirica e razionale, legata ad un’idea di architettura classica, di matrice illuministica e attenta alle istanze della modernità, all’interno della quale si realizza l’eteronomia linguistica che caratterizza uno dei tratti caratteristici delle architetture di Ignazio Gardella; aspetto più volte interpretato come appartenenza ai movimenti del novecento, che intersecano costantemente la lunga carriera dell’architetto. L’analisi dell’opera della residenza è condotta non per casi esemplari, ma sulla totalità dei progetti che si avvale anche di contributi inediti. Essa è intesa come percorso di ricerca personale sui processi compositivi e sull’uso del linguaggio e permette un riposizionamento della figura di Gardella, in relazione al farsi dell’architettura, della sua realizzazione e non alla volontà di assecondare stili o norme a-priori. E’ la dimensione pratica, del mestiere, quella che meglio si presta all’interpretazione dei progetti di Gardella. Le residenze dell’architetto si mostrano per la capacità di adattarsi ai vincoli del luogo, del committente, della tecnologia, attraverso la re-interpretazione formale e il trasferimento da un tema all’altro, degli elementi essenziali che mostrano attraverso la loro immagine, una precisa idea di casa e di architettura, non autoriale, ma riconoscibile e a-temporale.

Ahmedabad | Laboratorio di architettura moderna Il National Institute of Design (1961-68) fra contatti internazionali ed echi della tradizione

Oggetto della ricerca è lo studio del National Institute of Design (NID), progettato da Gautam Sarabhai e sua sorella Gira, ad Ahmedabad, assunta a paradigma del nuovo corso della politica che il Primo Ministro Nehru espresse nei primi decenni del governo postcoloniale. Obiettivo della tesi è di analizzare il fenomeno che unisce modernità e tradizione in architettura. La modernità indiana, infatti, nacque e si sviluppò con i caratteri di un Giano bifronte: da un lato, la politica del Primo Ministro Nehru favorì lo sviluppo dell’industria e della scienza; dall’altro, la visione di Gandhi mirava alla riscoperta del locale, delle tradizioni e dell’artigianato. Questi orientamenti influenzarono l’architettura postcoloniale. Negli anni ‘50 e ’60 Ahmedabad divenne la culla dell’architettura moderna indiana. Kanvinde, i Sarabhai, Correa, Doshi, Raje trovarono qui le condizioni per costruire la propria identità come progettisti e come intellettuali. I motori che resero possibile questo fermento furono principalmente due: una committenza di imprenditori illuminati, desiderosi di modernizzare la città; la presenza ad Ahmedabad, a partire dal 1951, dei maestri dell’architettura moderna, tra cui i più noti furono Le Corbusier e Kahn, invitati da quella stessa committenza, per la quale realizzarono edifici di notevole rilevanza. Ad Ahmedabad si confrontarono con forza entrambe le visioni dell’India moderna. Lo sforzo maggiore degli architetti indiani si espresse nel tentativo di conciliare i due aspetti, quelli che derivavano dalle influenze internazionali e quelli che provenivano dallo spirito della tradizione. Il progetto del NID è uno dei migliori esempi di questo esercizio di sintesi. Esso recupera nella composizione spaziale la lezione di Wright, Le Corbusier, Kahn, Eames ibridandola con elementi della tradizione indiana. Nell’uso sapiente della struttura modulare e a padiglione, della griglia ordinatrice a base quadrata, dell’integrazione costante fra spazi aperti, natura e architettura affiorano nell’edificio del NID echi di una cultura millenaria.

Contaminazioni tra arte e architettura

Il concetto di contaminazione fra architettura ed arti plastiche e figurative è molto antico. La dicotomia arte-architettura, sancita in via definitiva con il moderno museo di spoliazione napoleonica, non può che essere considerata una variazione neo-tecnicista sulla quale, non sempre giustamente, sono andati assestandosi gli insegnamenti delle scuole politecniche. Non così è sempre stato. Come il tempio greco può essere considerato un’opera plastica nel suo complesso, esempio tra i primi di fusione tra arte e architettura, moltissimi sono gli esempi che hanno guidato la direzione della ricerca che si è intesa perseguire. Molti sono gli esempi del passato che ci presentano figure di architetto-artista: un esempio fra tutti Michelangelo Buonarroti; come per altro non è nuovo, per l’artista puro, cimentarsi nella progettazione dello spazio architettonico o urbano, o per l'architetto essere coinvolto dalle indagini della ricerca artistica a lui contemporanea dalla quale trarre suggestioni culturali. Le rappresentazioni dei linguaggi visivi sono il frutto di contaminazioni che avvengono su diversi livelli e in più direzioni. Spesso le ricerche artistiche più significative hanno anticipato o influenzato il mondo del design, dell’architettura, della comunicazione. L’intenzione della ricerca è stata quindi approfondire, attraverso un viaggio nel Novecento, con particolare attenzione al Secondo Dopoguerra, i fenomeni culturali che hanno prodotto i più significativi sviluppi stilistici nell’ambito della ricerca e del rinnovo del linguaggio architettonico. Il compito, parafrasando Leonardo Benevolo, non è stato quello di elencare le singole battute della discussione ma di riconoscere gli interventi fruttuosi a lunga scadenza. Mutuando gli insegnamenti della scuola del Bauhaus, arte e architettura sono state affiancate perché considerate espressioni strettamente relazionate di coevi fenomeni culturali. L’obiettivo ha puntato all’individuazione dei meccanismi delle interazioni tra discipline, cercando di delineare il profilo della complessità dell’espressione del contemporaneo in architettura.

Il rapporto architettura – suolo nell’opera di Aldo Rossi

La ricerca muove dal presupposto che l’opera di Aldo Rossi sia stata analizzata finora secondo un criterio tipologico. Tale approccio è una tra le possibili chiavi di lettura del lavoro dell’architetto. Nel tentativo di individuare un’interpretazione dell’opera di Rossi legata a sistemi immutabili nel tempo si è ritenuto necessario approfondire la relazione che si stabilisce tra la sua opera e il suolo. Attraverso la definizione di due categorie di lettura dei progetti dell’autore, che si basano su continuità o discontinuità fisica del progetto rispetto al suolo, si comprende come il rapporto tra area e progetto produca nel tempo soluzioni ricorrenti. In base a questa interpretazione muro e pilastro costituiscono due elementi fondamentali del linguaggio di Rossi. Essi a loro volta si allacciano ad un sistema di riferimento più ampio di cui tettonica e arte muraria sono i capisaldi. La ricerca si articola in tre parti, all’interno delle quali sono sviluppati specifici capitoli. La prima parte, sistema di riferimento, è necessaria a delineare un vocabolario utile per isolare il tema trattato. Essa è fondamentale per comprendere la posizione occupata da Rossi rispetto alle esperienze verificatesi nel corso della storia, relativamente al rapporto spazio - architettura - suolo. La seconda parte, arte muraria, serve a mettere in luce l’influenza che la componente massiva e plastica del terreno ha determinato nella definizione di specifiche soluzioni progettuali. La terza parte, tettonica, delinea invece un approccio opposto al precedente, individuando quei progetti in cui il rapporto col suolo è stato sminuito o addirittura negato, aumentando il senso di sospensione dei volumi nello spazio. In definitiva, l’influenza che il rapporto col suolo ha determinato sulle scelte progettuali di Rossi rappresenta l’interrogativo principale di questa ricerca.

Sviluppo di sistemi per l'analisi della combustione in tempo reale per motori endotermici alternativi

I moderni motori a combustione interna diventano sempre più complessi L'introduzione della normativa antinquinamento EURO VI richiederà una significativa riduzione degli inquinanti allo scarico. La maggiore criticità è rappresentata dalla riduzione degli NOx per i motori Diesel da aggiungersi a quelle già in vigore con le precedenti normative. Tipicamente la messa a punto di una nuova motorizzazione prevede una serie di test specifici al banco prova. Il numero sempre maggiore di parametri di controllo della combustione, sorti come conseguenza della maggior complessità meccanica del motore stesso, causa un aumento esponenziale delle prove da eseguire per caratterizzare l'intero sistema. L'obiettivo di questo progetto di dottorato è quello di realizzare un sistema di analisi della combustione in tempo reale in cui siano implementati diversi algoritmi non ancora presenti nelle centraline moderne. Tutto questo facendo particolare attenzione alla scelta dell'hardware su cui implementare gli algoritmi di analisi. Creando una piattaforma di Rapid Control Prototyping (RCP) che sfrutti la maggior parte dei sensori presenti in vettura di serie; che sia in grado di abbreviare i tempi e i costi della sperimentazione sui motopropulsori, riducendo la necessità di effettuare analisi a posteriori, su dati precedentemente acquisiti, a fronte di una maggior quantità di calcoli effettuati in tempo reale. La soluzione proposta garantisce l'aggiornabilità, la possibilità di mantenere al massimo livello tecnologico la piattaforma di calcolo, allontanandone l'obsolescenza e i costi di sostituzione. Questa proprietà si traduce nella necessità di mantenere la compatibilità tra hardware e software di generazioni differenti, rendendo possibile la sostituzione di quei componenti che limitano le prestazioni senza riprogettare il software.

Pervasive Sensing in Future Networks

Pervasive Sensing is a recent research trend that aims at providing widespread computing and sensing capabilities to enable the creation of smart environments that can sense, process, and act by considering input coming from both people and devices. The capabilities necessary for Pervasive Sensing are nowadays available on a plethora of devices, from embedded devices to PCs and smartphones. The wide availability of new devices and the large amount of data they can access enable a wide range of novel services in different areas, spanning from simple data collection systems to socially-aware collaborative filtering. However, the strong heterogeneity and unreliability of devices and sensors poses significant challenges. So far, existing works on Pervasive Sensing have focused only on limited portions of the whole stack of available devices and data that they can use, to propose and develop mainly vertical solutions. The push from academia and industry for this kind of services shows that time is mature for a more general support framework for Pervasive Sensing solutions able to enhance frail architectures, promote a well balanced usage of resources on different devices, and enable the widest possible access to sensed data, while ensuring a minimal energy consumption on battery-operated devices. This thesis focuses on pervasive sensing systems to extract design guidelines as foundation of a comprehensive reference model for multi-tier Pervasive Sensing applications. The validity of the proposed model is tested in five different scenarios that present peculiar and different requirements, and different hardware and sensors. The ease of mapping from the proposed logical model to the real implementations and the positive performance result campaigns prove the quality of the proposed approach and offer a reliable reference model, together with a direction for the design and deployment of future Pervasive Sensing applications.

Il museo Wilhelm Lehmbruck: paradigma della nuova modernità nella Germania del secondo dopoguerra

Oggetto della ricerca è il museo Wilhelm Lehmbruck di Duisburg, un'opera dell'architetto Manfred Lehmbruck, progettata e realizzata tra il 1957 e il 1964. Questa architettura, che ospita la produzione artistica del noto scultore Wilhelm Lehmbruck, padre di Manfred, è tra i primi musei edificati ex novo nella Repubblica Federale Tedesca dopo la seconda guerra mondiale. Il mito di Wilhelm Lehmbruck, costruito negli anni per donare una identità culturale alla città industriale di Duisburg, si rinvigorì nel secondo dopoguerra in seno ad una più generale tendenza sorta nella Repubblica di Bonn verso la rivalutazione dell'arte moderna, dichiarata “degenerata” dal nazionalsocialismo. Ricollegarsi all'arte e all'architettura moderna degli anni venti era in quel momento funzionale al ridisegno di un volto nuovo e democratico del giovane stato tedesco, che cercava legittimazione proclamandosi erede della mitica e gloriosa Repubblica di Weimar. Dopo anni di dibattiti sulla ricostruzione, l'architettura del neues Bauen sembrava l'unico modo in cui la Repubblica Federale potesse presentarsi al mondo, anche se la realtà del paese era assai più complessa e svelava il “doppio volto” che connotò questo stato a partire dal 1945. Le numerose dicotomie che popolarono presto la tabula rasa nata dalle ceneri del conflitto (memoria/oblio, tradizione/modernità, continuità/discontinuità con il recente e infausto passato) trovano espressione nella storia e nella particolare architettura del museo di Duisburg, che può essere quindi interpretato come un'opera paradigmatica per comprendere la nuova identità della Repubblica Federale, un'identità che la rese capace di risorgere dopo l' “anno zero”, ricercando nel miracolo economico uno strumento di redenzione da un passato vergognoso, che doveva essere taciuto, dimenticato, lasciato alle spalle.

Technologies for Ambient intelligence: from Smart Objects to Sensor Networks

n the last few years, the vision of our connected and intelligent information society has evolved to embrace novel technological and research trends. The diffusion of ubiquitous mobile connectivity and advanced handheld portable devices, amplified the importance of the Internet as the communication backbone for the fruition of services and data. The diffusion of mobile and pervasive computing devices, featuring advanced sensing technologies and processing capabilities, triggered the adoption of innovative interaction paradigms: touch responsive surfaces, tangible interfaces and gesture or voice recognition are finally entering our homes and workplaces. We are experiencing the proliferation of smart objects and sensor networks, embedded in our daily living and interconnected through the Internet. This ubiquitous network of always available interconnected devices is enabling new applications and services, ranging from enhancements to home and office environments, to remote healthcare assistance and the birth of a smart environment. This work will present some evolutions in the hardware and software development of embedded systems and sensor networks. Different hardware solutions will be introduced, ranging from smart objects for interaction to advanced inertial sensor nodes for motion tracking, focusing on system-level design. They will be accompanied by the study of innovative data processing algorithms developed and optimized to run on-board of the embedded devices. Gesture recognition, orientation estimation and data reconstruction techniques for sensor networks will be introduced and implemented, with the goal to maximize the tradeoff between performance and energy efficiency. Experimental results will provide an evaluation of the accuracy of the presented methods and validate the efficiency of the proposed embedded systems.