Dall'involucro all'invaso. Lo spazio a pianta centrale nell'opera architettonica di Adalberto Libera

An archetype selected over the centuries Adalberto Libera wrote little, showing more inclination to use the project as the only means of verification. This study uses a survey of the project for purely compositional space in relation to the reason that most other returns with continuity and consistency throughout his work. "The fruit of a type selected over centuries", in the words of Libera, is one of the most widely used and repeated spatial archetypes present in the history of architecture, given its nature as defined by a few consolidated elements and precisely defined with characters of geometric precision and absoluteness, the central space is provided, over the course of evolution of architecture, and its construction aspects as well as symbolic, for various uses, from historical period in which it was to coincide with sacred space for excellence, to others in which it lends itself to many different expressive possibilities of a more "secular". The central space was created on assumptions of a constructive character, and the same exact reason has determined the structural changes over the centuries, calling from time to time with advances in technology, the maximum extent possible and the different applications, which almost always have coincided with the reason for the monumental space. But it’s in the Roman world that the reason for the central space is defined from the start of a series of achievements that fix the character in perpetuity. The Pantheon was seen maximum results and, simultaneously, the archetype indispensable, to the point that it becomes difficult to sustain a discussion of the central space that excludes. But the reason the space station has complied, in ancient Rome, just as exemplary, monuments, public spaces or buildings with very different implications. The same Renaissance, on which Wittkower's proving itself once and for all, the nature and interpretation of sacred space station, and thus the symbolic significance of that invaded underlying interpretations related to Humanism, fixing the space-themed drawing it with the study and direct observation by the four-sixteenth-century masters, the ruins that in those years of renewed interest in the classical world, the first big pieces of excavation of ancient Rome brought to light with great surprise of all. Not a case, the choice to investigate the architectural work of Libera through the grounds of the central space. Investigating its projects and achievements, it turns out as the reason invoked particularly evident from the earliest to latest work, crossing-free period of the war which for many authors in different ways, the distinction between one stage and another, or the final miss. The theme and the occasion for Libera always distinct, it is precisely the key through which to investigate her work, to come to discover that the first-in this case the central plan-is the constant underlying all his work, and the second reason that the quota with or at the same time, we will return different each time and always the same Libera, formed on the major works remained from ancient times, and on this building method, means consciously, that the characters of architectural works, if valid, pass the time, and survive the use and function contingent. As for the facts by which to formalize it, they themselves are purely contingent, and therefore available to be transferred from one work to another, from one project to another, using also the loan. Using the same two words-at-issue and it becomes clear now how the theme of this study is the method of Libera and opportunity to the study of the central space in his work. But there is one aspect that, with respect to space a central plan evolves with the progress of the work of Libera on the archetype, and it is the reason behind all the way, just because an area built entirely on reason centric. It 'just the "center" of space that, ultimately, tells us the real progression and the knowledge that over the years has matured and changed in Libera. In the first phase, heavily laden with symbolic superstructure, even if used in a "bribe" from Free-always ill-disposed to sacrifice the idea of architecture to a phantom-center space is just the figure that identifies the icon represents space itself: the cross, the flame or the statue are different representations of the same idea of center built around an icon. The second part of the work of clearing the space station, changed the size of the orders but the demands of patronage, grows and expands the image space centric, celebratory nature that takes and becomes, in a different way, this same symbol . You see, one in all, as the project of "Civiltà Italiana" or symbolic arch are examples of this different attitude. And at the same point of view, you will understand how the two projects formulated on the reuse of the Mausoleum of Augustus is the key to its passage from first to second phase: the Ara Pacis in the second project, making itself the center of the composition "breaks" the pattern of symbolic figure in the center, because it is itself an architecture. And, in doing so, the transition takes place where the building itself-the central space-to become the center of that space that itself creates and determines, by extending the potential and the expressiveness of the enclosure (or cover) that defines the basin centered. In this second series of projects, which will be the apex and the point of "crisis" in the Palazzo dei Congressi all'E42 received and is no longer so, the symbol at the very geometry of space, but space itself and 'action' will be determined within this; action leading a movement, in the case of the Arco simbolico and the "Civiltà Italiana" or, more frequently, or celebration, as in the great Sala dei Recevimenti all’E42, which, in the first project proposal, is represented as a large area populated by people in suits, at a reception, in fact. In other words, in this second phase, the architecture is no longer a mere container, but it represents the shape of space, representing that which "contains". In the next step-determining the knowledge from which mature in their transition to post-war-is one step that radically changes the way centric space, although formally and compositionally Libera continues the work on the same elements, compounds and relationships in a different way . In this last phase Freedom, center, puts the man in human beings, in the two previous phases, and in a latent, were already at the center of the composition, even if relegated to the role of spectators in the first period, or of supporting actors in the second, now the heart of space. And it’s, as we shall see, the very form of being together in the form of "assembly", in its different shades (up to that sacred) to determine the shape of space, and how to relate the parts that combine to form it. The reconstruction of the birth, evolution and development of the central space of the ground in Libera, was born on the study of the monuments of ancient Rome, intersected on fifty years of recent history, honed on the constancy of a method and practice of a lifetime, becomes itself, Therefore, a project, employing the same mechanisms adopted by Libera; the decomposition and recomposition, research synthesis and unity of form, are in fact the structure of this research work. The road taken by Libera is a lesson in clarity and rationality, above all, and this work would uncover at least a fragment.

Path planning for image based visual servoing

This thesis deals with Visual Servoing and its strictly connected disciplines like projective geometry, image processing, robotics and non-linear control. More specifically the work addresses the problem to control a robotic manipulator through one of the largely used Visual Servoing techniques: the Image Based Visual Servoing (IBVS). In Image Based Visual Servoing the robot is driven by on-line performing a feedback control loop that is closed directly in the 2D space of the camera sensor. The work considers the case of a monocular system with the only camera mounted on the robot end effector (eye in hand configuration). Through IBVS the system can be positioned with respect to a 3D fixed target by minimizing the differences between its initial view and its goal view, corresponding respectively to the initial and the goal system configurations: the robot Cartesian Motion is thus generated only by means of visual informations. However, the execution of a positioning control task by IBVS is not straightforward because singularity problems may occur and local minima may be reached where the reached image is very close to the target one but the 3D positioning task is far from being fulfilled: this happens in particular for large camera displacements, when the the initial and the goal target views are noticeably different. To overcame singularity and local minima drawbacks, maintaining the good properties of IBVS robustness with respect to modeling and camera calibration errors, an opportune image path planning can be exploited. This work deals with the problem of generating opportune image plane trajectories for tracked points of the servoing control scheme (a trajectory is made of a path plus a time law). The generated image plane paths must be feasible i.e. they must be compliant with rigid body motion of the camera with respect to the object so as to avoid image jacobian singularities and local minima problems. In addition, the image planned trajectories must generate camera velocity screws which are smooth and within the allowed bounds of the robot. We will show that a scaled 3D motion planning algorithm can be devised in order to generate feasible image plane trajectories. Since the paths in the image are off-line generated it is also possible to tune the planning parameters so as to maintain the target inside the camera field of view even if, in some unfortunate cases, the feature target points would leave the camera images due to 3D robot motions. To test the validity of the proposed approach some both experiments and simulations results have been reported taking also into account the influence of noise in the path planning strategy. The experiments have been realized with a 6DOF anthropomorphic manipulator with a fire-wire camera installed on its end effector: the results demonstrate the good performances and the feasibility of the proposed approach.

Reconstruction from image correspondences

A single picture provides a largely incomplete representation of the scene one is looking at. Usually it reproduces only a limited spatial portion of the scene according to the standpoint and the viewing angle, besides it contains only instantaneous information. Thus very little can be understood on the geometrical structure of the scene, the position and orientation of the observer with respect to it remaining also hard to guess. When multiple views, taken from different positions in space and time, observe the same scene, then a much deeper knowledge is potentially achievable. Understanding inter-views relations enables construction of a collective representation by fusing the information contained in every single image. Visual reconstruction methods confront with the formidable, and still unanswered, challenge of delivering a comprehensive representation of structure, motion and appearance of a scene from visual information. Multi-view visual reconstruction deals with the inference of relations among multiple views and the exploitation of revealed connections to attain the best possible representation. This thesis investigates novel methods and applications in the field of visual reconstruction from multiple views. Three main threads of research have been pursued: dense geometric reconstruction, camera pose reconstruction, sparse geometric reconstruction of deformable surfaces. Dense geometric reconstruction aims at delivering the appearance of a scene at every single point. The construction of a large panoramic image from a set of traditional pictures has been extensively studied in the context of image mosaicing techniques. An original algorithm for sequential registration suitable for real-time applications has been conceived. The integration of the algorithm into a visual surveillance system has lead to robust and efficient motion detection with Pan-Tilt-Zoom cameras. Moreover, an evaluation methodology for quantitatively assessing and comparing image mosaicing algorithms has been devised and made available to the community. Camera pose reconstruction deals with the recovery of the camera trajectory across an image sequence. A novel mosaic-based pose reconstruction algorithm has been conceived that exploit image-mosaics and traditional pose estimation algorithms to deliver more accurate estimates. An innovative markerless vision-based human-machine interface has also been proposed, so as to allow a user to interact with a gaming applications by moving a hand held consumer grade camera in unstructured environments. Finally, sparse geometric reconstruction refers to the computation of the coarse geometry of an object at few preset points. In this thesis, an innovative shape reconstruction algorithm for deformable objects has been designed. A cooperation with the Solar Impulse project allowed to deploy the algorithm in a very challenging real-world scenario, i.e. the accurate measurements of airplane wings deformations.

Simulation of optical observables for space missions to small bodies

The navigation of deep space spacecraft requires accurate measurement of the probe’s state and attitude with respect to a body whose ephemerides may not be known with good accuracy. The heliocentric state of the spacecraft is estimated through radiometric techniques (ranging, Doppler, and Delta-DOR), while optical observables can be introduced to improve the uncertainty in the relative position and attitude with respect to the target body. In this study, we analyze how simulated optical observables affect the estimation of parameters in an orbit determination problem, considering the case of the ESA’s Hera mission towards the binary asteroid system composed of Didymos and Dimorphos. To this extent, a shape model and a photometric function are used to create synthetic onboard camera images. Then, using a stereophotoclinometry technique on some of the simulated images, we create a database of maplets that describe the 3D geometry of the surface around a set of landmarks. The matching of maplets with the simulated images provides the optical observables, expressed as pixel coordinates in the camera frame, which are fed to an orbit determination filter to estimate a certain number of solve-for parameters. The noise introduced in the output optical observables by the image processing can be quantified using as a metric the quality of the residuals, which is used to fine-tune the maplet-matching parameters. In particular, the best results are obtained when using small maplets, with high correlation coefficients and occupation factors.