On 14 April, at 14:14 Italian time, JUICE (Jupiter Icy Moons Explorer), was launched from the Kourou base in French Guiana, the European Space Agency probe that will reach the Jupiter system in 2031 to make detailed observations of the gaseous planet and three of its moons: Callisto, Europa and Ganymede.
The Politecnico di Milano is also involved in the mission: researchers at the MetroSpace Lab in the Department of Mechanics, on the Lecco Campus, helped to design of one of the main instruments on board the probe: MAJIS (Moons and Jupiter Imaging Spectrometer), an imaging spectrometer that operates on two different spectral channels, near infrared and infrared. The instrument was built by a French and Italian consortium, (French Principal Investigator, Francois Poulet from the IAS in Paris, with Italian Co-Principal Investigator, Giuseppe Piccioni from the INAF in Rome) with Belgian support; the optical head of the instrument is the Italian contribution.
In particular, the team from the Politecnico led the initial phase of the thermomechanical project, studying a passive cooling system capable of maintaining the infrared sensor at temperatures below 90 K (-183.15 °C) and the entire optical system at temperatures below 140 K (-133.15 °C), even though the satellite will operate at close to Earth temperatures.
The executive design and construction of the instrument were conducted by Leonardo, funded by the Italian Space Agency, under the supervision of the scientific team, within which the Politecnico group will remain active during the flight and operational phase of the mission, first to refine the thermal model of the instrument, using the data collected during the cruise phase, and then to support the planning of the observations.
“This is a time of great development in the Italian market in terms of digital technology, driven by two fundamental trends: European investments (such as those of the NRRP) and digital transformative processes. At the head of these two trends are the large industrial groups, as one of the issues to consider is the sheer size required to make an impact in the digital sector”.
Speaking is Giuseppe Di Franco, Managing Director of the Lutech Group, CEO of Lutech Advanced Solutions and an Alumnus of the Politecnico in management engineering. He explains that in this context, one can do very little alone, and this is, as we know, a critical issue in the Italian industrial fabric, characterised by various small- and medium-sized (albeit excellent) companies. “One of the major efficiency issues of the Italian economic system lies in the low productivity of labour compared to the main European partners. The way to improve productivity, national security, data sovereignty, is linked to important digital investments. This must be done consistently with national objectives".
This was one of the considerations that led to the negotiations for the acquisition of Atos Italia by Lutech, in partnership with the Apax funds and the Atos Group. "We have worked to create a digital champion in Italy; we aim to exceed one billion euros in turnover in approximately a year and a half with a workforce of over 5,000 people. This is a player of paramount significance internationally”.
Giuseppe Di Franco
ITALIAN INVESTMENTS TO MULTIPLY OUR COMPUTING CAPACITY
The issue is important because it points towards a dominance of Italy over innovation and design capacity"I don't think we will ever compete with China on labour costs, will we? So, you have to focus on computing capacity to design and escape the trap of competing on labour costs. That is mortifying, and has always led to devastating effects”. We ask Mr Di Franco what the next steps are in this process.
"At the end of 2022, the most significant computing project of recent years was launched by the President of the Republic. I am referring to the Leonardo supercomputer, which doubles the national computing capacity. It is the fourth most powerful supercomputer in the world and is devoted to scientific and technological research. Powered by Atos technology and managed by the Cineca university consortium, thanks also to the expertise of the then Atos Italy team, it is accessible to universities and companies throughout Italy. Leonardo is one of the examples of the fact that our country is investing in equipping itself with a first-class processing capacity at both European and international level. Which, I would say, is a basic element to be able to talk about digital development”.
DIGITAL TWINS, FROM LIGHT METERS TO THE ENTIRE PLANET
Directly related to computing power, the other element of growth is our modelling capacity. “From an unrefined model of the human body, for instance, I cannot possibly be expected to be able to study DNA. The more the model of the body can be broken down into parts increasingly faithful to their physical twins AND with higher resolution, the more effective scientific research can be in terms of predictability”. We speak, of course, of the Digital Twin, a relatively new term to define a millenary ambition of our species: that of being able, whilst having all the information available, to predict the development (i.e., obtain a model) of any phenomenon.
"And here we touch on two important issues. First of all, as we said, the exponentially growing computing capacity. We are changing the order of magnitude of what can be simulated, of what we have simulated and thought up to now, which is fortunately in danger of becoming obsolete very soon. Starting with the concrete: think, for example, of the use of the Digital Twin for city management, for the design of complex technological elements, for the treatment of organs in the body with revolutionary drugs, for meteorological studies, for predictive technologies... the sky is the limit, so the saying goes”.
Atos – Supercomputer
Cineca – Giacomo Maestri
FISHING IN DATA LAKES IS NO CHILD'S PLAY
The critical aspect of all this lies in the complexity and number of variables in the information we can collect a priori; error is just around the corner, and it brings with it the risk of a drift effect. "In technology parlance we talk about building data lakes; in general, however, we are talking about an end point that does not turn on with an on/off switch. It is a path that has intermediate steps; all the big companies are working very seriously on building these datasets with data collection as a prerequisite (e.g., with IoT). To cite a domestic case, Enel is one of the largest data lakes in the world with readings and data from meters. This gives information, for example on energy consumption, the possibility of balancing the grid, the correct use of existing infrastructure, etc.”
Another bit of good news is that this is only the beginning. "Scientific and technological research is leading us towards quantum computing, which will change orders of magnitude further when we move to applications that use quantum capacity instead of parallel capacity”.
IF MACHINES DESIGN OTHER MACHINES AND THEY MAKE MISTAKES, WHOSE RESPONSIBILITY IS IT?
Let's assume that we are driving. At some point, the brake mechanism jams: there was a design error in the car, which was not designed well enough to withstand a certain use. Who is to blame? Today, we are at the point where we can design a car using Digital Twin: in practice, it is machines that design other machines, based on our preferences. This way of designing should further reduce the (already low) margin of error. But errors can never be completely eliminated, and when they occur, we ask ourselves who is to blame. We are under the impression, however, that the human user demands more from digital security than he/she does from his/her fellow human beings. In the same way we have legitimate doubts on the question of autonomous driving. Then there is an issue of opacity of choices. The question is this: can we trust a machine in the same way that we can trust a human?
“Novelty always induces concern,” replies Di Franco. “If you go from horses to cars, you worry about cars. Today, we are dealing with self-driving cars, who knows what other questions we will ask ourselves in the future. Novelty introduces uncertainty: we are attracted to it, but also frightened of it. And this is another cultural element: an evolved country must have an evolved school and university system capable of preparing the population for change”.
THIS IS WHERE CYBERSECURITY COMES IN...
"Digitisation and cybersecurity must grow in parallel, as must the skills required to manage them, otherwise we may run into the same problems that we have seen in the news from time to time. This is a cultural issue and one of the many that highlight the important role of institutions such as the Politecnico di Milano: universities such as the Poli are a driving force for the development of skills (and I cite the study programme in High Performance Computing as an example) as well as a driving force for cultural transformation. Another crucial issue is resistance to innovation. How many times do we find ourselves in companies talking about these topics and we hear the answer, especially from medium- and small-sized companies: “we don't need it”; “we have never used it”; “we have always done without it”... but digitisation requires its own supply chain: if a manufacturing company wants to digitally design a car, they need suppliers who are themselves digitised. This is the major issue of involving of small and medium-sized companies as an essential element of the country's development. Not least because it is these that represent our economic backbone”. Also in this transformation, collaboration between the industrial system and universities is key. In this sense, Lutech Advances Solutions (formerly Atos Italia) and the Politecnico di Milano have recently signed a three-year agreement to develop shared teaching, technology transfer and research projects applied to frontier areas: precisely those we have talked about here, in the field of digitisation, such as Digital Twin, High Performance Computing, Artificial Intelligence, Cybersecurity and Internet of Things. "It is an agreement that naturally emerges from a very long relationship, which has also seen the Politecnico involved in training our managers to know how to manage this path of change. The relationship with the Politecnico di Milano is an essential part of our strategic path and represents an exemplary case for Italy. Intensive cooperation with the university system means bringing innovation to industries and also being able to think up new models of action”.
We are used to turning on the tap and seeing plenty of water gush out, without worrying that it might run out. We take it for granted that we will have enough to quench our thirst and wash ourselves, but also to produce primary goods such as food and electricity. Although this attitude is changing in our country because of drought, in some developing countries water is a commodity for which people even kill: a study conducted by a group of Politecnico researchers and published in the prestigious journal Nature Sustainability investigated how water is linked to violent conflicts in the Lake Chad basin in Africa, trying to specifically understand what role this resource plays in triggering the conflict itself. We spoke to two of the authors, researchers Nikolas Galli and Maria Cristina Rulli, from the Department of Civil and Environmental Engineering: here is what they told us.
Nikolas Galli
Maria Cristina Rulli
CONFLICTS, NOT WARS
Although the phrase commonly used in English is water wars, in this case, Galli and Rulli explain, the expression is wrong: "So far, we have never had evidence of water wars in history, except perhaps one in the time of the Sumerians in the 3rd millennium BC", Rulli points out. "The term war in international law has the meaning of aggression by one state against another; in the cases we investigated, it is therefore more correct to speak of conflicts, not wars".
WATER IS ONLY ONE OF THE FACTORS INVOLVED
"We chose to focus on the area of the Lake Chad basin because it is a region that suffers from serious institutional and environmental fragility", Galli explains. "It is also often misrepresented, which is why we decided to analyse the issue of conflicts in the area in a more scientific way". One of the conclusions reached by the analysis is that water is only one of the factors at play in triggering conflicts: "There are typical socio-economic drivers behind the emergence of conflicts, such as religious or political reasons that often interact with each other and with hydrological dynamics", Galli explains. Very often, moreover, the areas most prone to conflict are those that already have a history of conflict behind them. And climate change, which brings with it the threat of desertification, is an accelerator of these drivers.
Matt Palmer on Unsplash
CONFLICTS OVER WATER IN EUROPE
As the problems of water scarcity and droughts become increasingly serious in the Old Continent too, will it be our turn to be involved in water wars in the future? "I hope not", commented Rulli. 'We are in a somewhat different historical phase and I hope we will not have violent conflicts like we see in Central Africa, but if we are talking about conflicts over resources, those already exist. When the resource is scarce and there are multiple users (such as the agricultural, energy or domestic sectors), managing the water resource incorrectly can lead to conflict situations'. We are talking about a social and economic conflict, of course, which does not escalate to violence, but can still have important consequences on our way of life. In this regard, Rulli cites an episode that occurred in Texas and New Mexico during a severe drought: 'Farmers were selling the water they had in concession for agricultural use to energy producers, who paid huge amounts for it: the result was that energy was being produced instead of food'.
Is thus water the new oil? 'Water is more valuable than oil and we have finally realised that now. Access to water and sanitation are in fact recognised by the United Nations as human rights. As such, it should be given a value but not a price”, says Rulli.
We conclude with a question: what has this research taught you? "The importance of transdisciplinarity", replies Rulli. "Having a solid scientific basis is essential, but not sufficient: one has to be modest and open to collaboration with other colleagues who are experts in other fields, especially when dealing with global social issues, as in this case". Galli responded along the same lines, stating: "The most important moment in our research was when we realised that we could see better what we were looking for when we accepted the complexity of the problem, without trying to simplify it. When analysing such important and at the same time complex phenomena, one must be modest, and study them with the awareness that, more often than not, we lack the tools to understand them completely".
The Italian business school landscape is growing, according to the QS Online MBA Ranking: Europe 2023, Quacquarelli Symonds' periodic ranking of the quality of business schools internationally.
In this landscape, which is in itself a positive sign for our country, the School of Management at the Politecnico di Milano ranks first in Italy and fourth in Europe, behind IE Business School (Spain), Warwick Business School and Imperial College Business School (both in the UK, the country in the European zone most represented in this ranking by number of business schools). The ranking includes 26 European online MBA programmes.
Our school achieved excellent results in the "Faculty & Teaching" indicator, which ranks us first in Europe for the quality of professors and teaching in particular (the survey involved more than 100,000 academic profiles worldwide). The SoM also excels in Employability, meaning the level of employability of its students, for which we rank 5th in Europe, and Class Experience, the learning experience offered to participants, for which we rank 3rd.
"This recognition comes just a few weeks after that of the Financial Times; being among the best European business schools with our online Executive MBA, also according to the authoritative QS ranking, once again confirms our leadership in the field of innovation and digitalisation of managerial training", commented Vittorio Chiesa and Federico Frattini, respectively President and Dean of the Polimi Graduate School of Management in an interview "Ranking first in Europe for the quality of our professors and our teaching is a historic achievement that naturally makes us proud, as it adds to the reputation our school enjoys.
Stonehenge is still attracting the attention of scholars and researchers more than four millennia after its building.
An academic study by Politecnico di Milano has proposed a scientific explanation of Stonehenge's original function - debunking some current theories about the mysterious monument from the Neolithic period.
One of the most recent theories to be debunked is that Stonehenge is a giant calendar based on a numerological interpretation of Egyptian and Julian calendars with 365 days and 12 months of the year. According to professor Giulio Magli of Politecnico di Milano and Professor Juan Antonio Belmonte of Instituto de Astrofísica de Canarias and Universidad de La Laguna in Tenerife, this assertion is incorrect.
«All in all, the supposed Stonehenge Neolithic solar calendar is a purely modern construct, with a poor archaeoastronomical and calendrical basis. As repeatedly happened in the past. For example, with the claims (proven untenable by modern research) that Stonehenge was used to predict eclipses, the monument reverts to its role as a mute witness to the sacred landscape of its builders, a role which - Magli and Belmonte stress - in no way detracts from its extraordinary fascination».
Credits: Juan Belmonte
Credits: Juan Belmonte
STONEHENGE: A NEW THEORY
In their article, published in Antiquity, one of the most prestigious scientific journals in archaeology, the authors demonstrate that the theory is based on a series of forced interpretations of the monument's connections to astronomy.
ASTRONOMICAL ELEMENT
Firstly, Magli and Belmonte analysed the astronomical element. Although the solstice alignment is accurate, the authors show that the slow movement of the sun on the horizon on days close to the solstices makes it impossible to ascertain the correct functioning of the supposed calendar, as the structure, made up of huge stones, should be able to distinguish very precise positions, less than 1/10 of a degree.
NUMEROLOGY
Secondly, they analysed the numerology. Attributing meanings to numbers on a monument is always a risky procedure. In this case, a key number of the supposed calendar, namely 12, can not be found in any element of Stonehenge, nor can any means of accounting for the additional intercalary day every four years. While other numbers are not taken into account - the Stonehenge portal, for example, was made of two stones.
CULTURAL PATTERNS
Finally, they looked at the cultural patterns. An early elaboration of the 365-day plus one calendar is documented in Egypt only two millennia after Stonehenge (and came into use centuries later). Therefore, although the people who built it took the calendar from Egypt, they perfected it themselves. Furthermore, they also invented a structure to keep track of time, as nothing similar ever existed in ancient Egypt. Finally, a transfer and elaboration of notions with Egypt that took place around 2600 BC have no archaeological basis.
For the first time, the 1000 Miglia 2023event, an event that embodies the history of world motoring, will be kicked off by an autonomous car, a symbol of the future.
Called "1000-MAD" (1000 Miglia Autonomous Drive), the Politecnico di Milano project represents the first experimentation in the world of autonomous vehicles on public roads, with an extension path of more than 1500 km and a time window of over 12 months.
1000-MAD is an initiative that aims to increase the technical skills of Italian industry, to contribute to the development of sustainable mobility and to create awareness of this technology in the public .
The Politecnico project sees the support and collaboration of 1000 Miglia S.r.l., the support and patronage of MOST - National Center for Sustainable Mobility and many sponsors and technical partners. Several research groups and our departments are involved, to address in an integrated way issues of technological development, project management (led by the Connected Car & Mobility Observatory), but also design and communication.
In recent years, the Politecnico di Milano has been working intensively on the front of Artificial Intelligence and autonomous driving techniques applied to racing cars, and now, in view of a possible legislation on the circulation of autonomous cars on public roads, the "1000-MAD" project is a candidate as the first experimentation in the world of autonomous vehicles in public contexts, characterized by a very high variety of routes, iterated over several experimental rounds.
THE CAR
The vehicle that will be used for the experimentation is the brand-new Maserati MC20 Cielo, an iconic and emotional super sports car that combines the best of modern technologies with the charm of the history of Maserati (which has repeatedly intertwined with the history of the 1000 Miglia).
On this car, made available by Maserati, the Politecnico di Milano has installed all the technological elements of a "robo-driver" (actuation systems, sensors, computers, communication systems, and all the software that implements the AI-driver algorithms), to put an Artificial Intelligence behind the wheel of the "Cielo".
The use of a Maserati as the vehicle base of this project also testifies to the intense research collaboration that has existed for more than a decade between the Politecnico di Milano and Maserati engineering in the field of electronic vehicle control & automation systems.
THE 1000 MIGLIA 2023
From 13 to 17 June, the Maserati MC20 Cielo will cross the entire route of the 1000 Miglia, tackling in "autonomous driving" mode some sections of the route, where the request for authorization to the Ministry of Infrastructure and Transport is being completed (in particular, the crossings of the cities of Bergamo and Brescia, Italian Capital of Culture 2023, Milan, Ferrara, Modena and Parma). In the sections that will be authorized by that date, the vehicle will drive in total autonomy, respecting the rules of the Highway Code, as required by the historical regularity race in stages that takes place promiscuous to normal car traffic.
EXPERIMENTATION AND THE 1000 MIGLIA 2024
Participation in the 1000 Miglia 2023 is only the first step of "presentation" of the project. Once the 2023 edition of the "most beautiful race in the world" is over, a year of intense development and experimental refinement of the A.I-driver technologywill start, in which the car will be trained on a route similar to that of the 1000 Miglia on municipal, provincial and state roads, and partly also motorway sections, with the ultimate goal of carrying out the entire route of the "1000 Miglia 2024" in autonomous mode.
THE CO-DRIVER
To comply with the testing authorization requirements (D.M.70 "smart-roads"), the vehicle driven by the A.I-driver of the Politecnico di Milano must be constantly supervised by a human co-driver. In the 1000 Miglia of 2023 the co-driver will be exceptional: Matteo Marzotto, expert driver and member of the Board of Directors of 1000 Miglia S.r.l., with many experiences of participation in the historic 1000 Miglia. He will thus remember the 70th anniversary of his uncle Giannino's victory (1953 edition), in an ideal handover between past, present and future. This link between human driver and artificial intelligence will be visually represented by an object of modern art, under development at the Department of Design of the Politecnico, which will be unveiled at the opening of the 1000 Miglia and which will accompany Matteo Marzotto throughout the route.
THE PERCEPTION OF ITALIANS
The project also aims to make autonomous driving known to the public. According to data from the Connected Car & Mobility Observatory of the Politecnico di Milano, in fact, today Italian consumers are perfectly divided into 50% already inclined to use a self-driving car and another 50% against. The main reasons for those in favour are the convenience of "being able to do other activities during the journey" (45%), and greater safety (31%); conversely, opponents are held back by the discomfort of not having control of the car (37%) and the feeling of less security (33%). Evidence is therefore needed to inform and prepare consumers for the autonomous mobility revolution.
THE VALUE FOR THE COUNTRY
The "1000-MAD" project will enhance the Italian scientific and technological capacity, creating a unique experimental context in the world, in which to carry out research and development of new technologies for autonomous mobility. It will also help define regulatory interventions to promote the development and use of autonomous cars; create a connection between the main research centres and the territories active on the topic in Italy and abroad; it will collect and publish technical data to develop industrial strategies and technologies. Finally, the project aims to collect and publish data on the Italian territory, defining and calculating an AI Autonomous Drive Readiness Index, which can help all administrations to direct their policies (and resources) on priority issues for that territory.
Milan, 18 April 2023 - The Codex Atlanticus is one of the most extensive and fascinating collections of Leonardo da Vinci's drawings and writings. Its preservation is a great challenge for scholars and researchers. An in-depth study, published in Scientific Reports, was conducted by Politecnico di Milano on Folio 843 of the Codex, to understand the origins of some black stains that appeared a few years ago on the modern passepartout that binds Leonardo's original folios.
The interdisciplinary research team coordinated by Lucia Toniolo, Professor of Materials Science and Technology at the Politecnico di Milano, used a series of non-invasive and micro-invasive analysis techniques to investigate the phenomenon and study its nature and causes.
The Codex Atlanticus, donated to the Veneranda Biblioteca Ambrosiana in 1637, was the subject of a major restoration carried out by the Laboratorio del Libro Antico (Laboratory for the Restoration of Ancient Books) of the Abbey of Grottaferrata between 1962 and 1972. The intervention ended with the production of 12 volumes with 1119 folios: each page has a passepartout with a panel (added by the restorers in Grottaferrata) framing Leonardo's original fragments. Since 1997, the Codexhas been stored in an environment with a strictly controlled microclimate, in accordance with paper conservation standards.
Credits: Phys.org
In 2006, very small black stains were discovered on the passepartout, located around the panel that frames and binds the folio. This phenomenon of blackening, observed on some 210 pages of the Codex from folio 600 onwards, has caused great concern among museum curators and scholars. An initial intervention in 2009 led to unbinding the volumes. Today, the drawings are individually mounted on passepartouts, in folders and acid-free boxes. The research carried out by the Politecnico began in 2021 during an initial pilot project on three Codexdrawings funded by Fondo Italiano di Investimento, which included the removal and replacement of the passepartout of the folio 843.
Previous studies had ruled out that the stains resulted from microbiological deterioration processes. Research by the Politecnico di Milano, combining hyperspectral photoluminescence imaging and UV fluorescence imaging with micro-ATR-IR imaging, revealed the presence of starch glue and vinyl glue located in the areas where the staining is most concentrated, right near the edge of the folio.
In addition, the presence of round inorganic nano-particles, 100-200 nanometres in diameter, made up of mercury and sulphur, was detected, which had accumulated within the cavities formed between the cellulose fibres of the passepartout paper. Finally, using synchrotron analysis, conducted at ESRF in Grenoble, it was possible to identify these particles as metacinnabar, a mercury sulphide in an unusual black crystalline phase.
In-depth studies on paper preservation methods have allowed us to formulate some hypotheses on the formation of metacinnabar. The presence of mercury could be associated with the addition of an anti-vegetative salt in the glue mixture used in Grottaferrata's restoration techniques, which could have been applied only in certain areas of the passepartout paper, precisely where it holds Leonardo's folio, to ensure adhesion and prevent microbiological infestations on the Codex. The presence of sulphur, on the other hand, has been linked to air pollution (in Milan in the 1970s, levels of sulphur dioxide SO2 were very high) or to the additives used in the glue, which over time would have led to a reaction with mercury salts and the formation of metacinnabar particles, responsible for the black stains.
Milan Design Week can be a real treasure hunt. Choosing what to see is no easy task, so we decided to start with the help of the Politecnico di Milano’s Design System — the School of Design, the Department of Design and POLI.design, which take part in various events with the aim of highlighting the projects and creative processes of our students, the true stars of our university: an opportunity to discover your Politecnico outside the 'walls' of the institution. You can find a guide (not exhaustive, that would be impossible), here.
A TOUR FOR ALUMNI
While waiting for these six intense days, from 17 to 23 April, we also had a chat with Politecnico alumna and designer Elena Salmistraro, one of the most important figures in international contemporary design, to (try to) create a 'pocket guide' to the 61st edition of the Fuorisalone. Even for her, it is not easy to select the most interesting places to see, given the possibilities the Fuorisalone offers. She tries anyway: "Alcova is all about innovation, and it is definitely a place to visit, also because it gives ample space to experimentation," she begins. Founded in 2018, Alcova is a touring platform for independent and sustainable design that this year, in its fifth Fuorisalone participation, is hosted by the former slaughterhouse in Porta Vittoria, at Viale Molise 62 (which could be the next big thingin Milan, following the expansion of NoLo). Here we also find an old acquaintance of the editorial staff, designer Matteo Ragni.
"The Brera Design District," adds Salmistraro, "is also an well-established space, and not to be missed”: Brera, with its mysterious alleys and squares full of light, is hosting more than 200 events and installations this year. Between events, we recommend a relaxing break at the Botanical Garden, where you can also find designer and Politecnico architecture graduate Italo Rota. Then she accompanies us, metaphorically, through the beautiful cloisters of the University of Milan, which, by now a tradition, host numerous conceptual and interactive installations. Keeping with the 'Poli' theme, here you will find Amazon's The Amazing Playground, featuring Stefano Boeri Interiors.
Our tour with Salmistraro (which is only one of a myriad possible routes) ends in the place that feels most like home, inextricably linked to the history of the Fuorisalone: the famous Quadrilatero, which needs no introduction. "This year, Tortona is back in vogue. Among many events, it will also host an exhibition by Giulio Cappellini in which I am also participating."
Elena Salmistraro. Credits: www.elenasalmistraro.com
A MUCH-LOVED REGULAR FIXTURE
Salmistraro tells us how she experienced Design Week as a student active in the Fuorisalone, going on to become a leading figure in the Salone itself. "When I started studying Industrial Design at the Poli, I looked forward to the Fuorisalone with great enthusiasm and tried to experience all the events taking place in the Via Tortona area, actively getting involved by handing out tickets and magazines. For me, the Fuorisalone was the Salone." What drove her was above all the curiosity to observe new techniques and materials at close quarters, but also, especially 'as a grown-up', an opportunity to create new contacts and collaborations. "Every age has its season," she explains. In fact, Elena won the prize for 'Best Emerging Designer at the Salone del Mobile' in 2017 with I vasi dei Primati, establishing herself as a designer against the mainstream at a time when minimalism was definitely in fashion. It was a risk, but it all ended well: "You can't imagine the queue that formed at the stand to see these vases!. I went from fear of failure to seeing my name on the stage as a prize winner. I can honestly say that I don't even remember what I said in my acceptance speech, but it was the most amazing feeling."
Primates, Ceramic vases for Bosa by Elena Salmistraro. Photo By: Tiziano Rossi. Credits: www.elenasalmistraro.com
COLLABORATIONS IN 2023
During the six-day Design Week 2023, our Alumna will have to divide her time between the Salone and the Fuorisalone. It is hard to count the number of projects that host her work, but we will highlight two of them. She has worked with Tai Ping Carpets, a specialist French carpet maker, wth an exhibition in the Brera Design District, in the Fuorisalone: "It is a collection of six carpets, which I have called 'Legami' (Ties), created using many different techniques combined: like a sampler of all possible processes that recreate these interwoven elements, forming knots that are meant to represent human bonds. For Design Re-Evolution, Interni's installation in the Statale area, she instead collaborated with Hines on a digital installation on the Torre Velasca, which is still under renovation. A unique opportunity to see this historic Milanese landmark in a new light. And this is precisely one of the main features of Milan Design Week: seemingly abandoned warehouses magically come to life and light, like modern magic pumpkins hosting not one Cinderella, but thousands of people.
True, you can't find a taxi, let alone a parking space, but it doesn't matter: it's better to walk and enjoy the setting, because for a few days, spaces open up that are usually closed, such as courtyards, luxurious lofts, industrial areas and historic buildings. If someone were to ask us what design is, we would say that it is the work to bring beauty into the objects and habits of everyday life, an arena in which technique, aesthetics and functionality meet. And, of course, the design capacity of the Politecnico. For Elena, the feeling is to all effects a function of the object and perhaps that is why she encapsulates the 'meaning' of the Fuorisalone in these few words: “For me, it represents the very life of Milan.” Always with great frankness, and indeed Salmistraro concludes: "The most important thing for me is that the companies I work with maintain a very high quality, so as to make my work easier."
Put technology and archaeology together, and new possibilities emerge, leading to incredible discoveries (such as the hidden tunnel in the pyramid of Cheops in Egypt). Making this connection possible are people like Corinna Rossi, an Egyptologist who teaches at the Department of Architecture, Built Environment and Construction Engineering at Politecnico di Milano. We had a chat with her, stealing a moment between a flight to Brussels and a trip to her beloved Egypt for her to tell us about her work.
After studying architecture ('I wasn’t ready to give up science altogether, so I chose a faculty that allowed me to study both humanities and science,' she tells us), Professor Rossi specialised with a master's degree and a doctorate in Egyptology from the University of Cambridge. 'I came to Politecnico thanks to the LIFE project, a research project funded by the ERC Consolidator Grant that I won in 2015,' she explains. 'I designed the project with Politecnico in mind: it was the only environment where I could find the mix of skills necessary for my work.' It is at the ABC department in particular, as the professor is keen to observe, that she has found fellow researchers with expertise in restoration, history, design, the built environment and archaeological surveying.
INVESTIGATE WITHOUT DESTROYING, WITH THE HELP OF TECHNOLOGY
Rossi and her research team have been working for a long time on finding a way to study without destroying, ie digging as little as possible so as not to risk compromising the integrity of the site and having as light an impact as possible on it. This is the methodology she used in the LIFE project: the aim was to study a late Roman site located along the frontier of the Empire in Egypt, in the Western Desert. The site, called Umm al-Dabadib, is unique in that it is intact and consisting of both a settlement and an agricultural system. 'No archaeological excavation was ever planned there, because it would have a devastating effect on the place'. All archaeological excavations are, by definition, operations to destroy the upper, more recent layers in favour of the lower, older ones. But in the specific case of Umm al-Dabadib this is compounded by another problem: 'Looking at the cost/benefit ratio and the sustainability of having a team of 25-30 people living in a site without water or electricity, the excavations would compromise the natural balance and integrity of the site, which, along with the rest of the oasis, is on the Tentative List of UNESCO sites combining culture and nature'.
Therefore, archaeologists and architects from Politecnico studied the 3D survey of the site by comparing it with the metrological study of the buildings (ie by reconstructing the geometry of the visible part of the remains): they were thus able to hypothesise what lay underneath. 'Once we had a clear idea, we went for it: when we excavated, we found exactly what we expected. This allowed us to more precisely identify areas for further investigation.' In addition to technology, the researcher emphasises, what made the reconstruction possible was the work of Egyptologists, who cross-referenced historical data and data from other investigations.
THE GEOMETRY OF THE ANCIENT EGYPTIANS
Another aspect that comes up during our chat on modern Egyptology and technology is the relationship between architecture and mathematics in Ancient Egypt, a topic on which Rossi has published several works. 'The method of using arithmetic and geometry in architecture has changed a lot over the centuries,' she explains. 'Now we tend to look at the architecture of the past using modern mathematical and architectural concepts, but this is wrong.' Think of pyramids: in the modern world, it makes sense to talk about inclination using degrees, but in Ancient Egypt there were no angular measurements and linear measurements were used instead: 'Imagine resting your elbow on a point on an inclined face of a pyramid. Holding your arm vertically, you can measure the distance between your vertical hand and the face of the oblique pyramid: that will be the seked, or inclination.' The pyramid of Cheops, for example, has a seked of 5 palms and two fingers, equal to about 52 modern degrees. 'Using degrees allows us to communicate more directly, but if we really want to understand the ancient construction method, we have to change our perspective to gain a clearer view of the situation'.
POLITECNICO AND THE EGYPTIAN MUSEUM: A COLLABORATION THAT LOOKS TO THE FUTURE
In addition to the LIFE project, there is now also a collaboration between Politecnico and the Egyptian Museum. How did it come about? 'We found each other,' says Professor Rossi with a laugh. 'Director Christian Greco has initiated a major renovation of the very concept of a museum, which is a material encyclopaedia of our past and must exist not only to preserve important finds, but also and above all to do research. We collaborate in experimenting with new ways of studying objects, with the freedom of action provided by Politecnico in terms of research and being outside of market pressures'.
What if we went so far as to talk about the metaverse, in a museum 2.0? 'The digital sphere can potentially be used to recontextualise objects, but we are still in the experimental phase, and above all there is a fundamental problem: the effort required to produce digital content is too often underestimated. Producing the 3D model of an object is not enough, you have to create the web of information that revolves around the object in order to communicate its history. Similarly, you need a deep knowledge of the digital space in which you can move around in order to build it and for such knowledge there must be a large number of Egyptologists and computer scientists dedicated to creating the place that is being reproduced in the metaverse. This is a very promising direction, in which, however, substantial investments need to be made'.
FLYING TO SAQQARA
We managed to get this interview with Professor Rossi by carving out time between a flight back from Brussels, where she was a panel member for ERC projects, and an outward flight to Egypt, where she will be assisting the Egyptian Museum in Saqqara. 'Our task is to carry out a three-dimensional survey of the stratigraphy, ie to photograph each archaeological layer as it is unearthed by archaeologists.' This is another way in which technology can help: drawing each layer would be a much longer and less precise process, while photographing it allows us to capture details that the very archaeologists who oversee the excavations can sometimes overlook.
SOMETHING PERSONAL
Before saying goodbye, we ask Rossi to tell us about the most exciting discovery she has made in her career. 'I'll tell you two: one much desired, the other completely accidental. The first one dates back to 2022, at the Umm al-Dabadib site (Ed: the LIFE project site), when we found the first four papyri ever found there. Two of them are complete and intact letters, one had never been opened: it was an indescribable emotion.quello del progetto LIFE, NdR) abbiamo rinvenuto i primi quattro papiri mai ritrovati lì. Due sono lettere complete e intatte, e una non era mai stata aperta: un’emozione indescrivibile”.
"The second discovery, the accidental one, occurred 20 years ago: I was working at Tell el-Amarna with the British investigation and, while walking in the coronation hall of Pharaoh Smenkhkare, I literally tripped over a stone... which turned out not to be a stone at all, but the fragment of a statuette depicting a princess from Amarna. How is it possible no-one had found it before me?!"
Finally, we asked her a quick-fire question: three things that made her fall in love with Egypt. 'The geometry of the pyramids, the desert, the nature that takes over as soon as you get out of the city'.
It’s hard to think of a story that brings football and music together so naturally as the story of the song "Guasto d'amore" by Bresh and the Genoa football fans.
The song quickly became a Spotify hit, crossing the boundaries not only between fans but of football itself.
The story is a long one and is also linked to Politecnico di Milano, because two key figures at the Genoa Cricket and Football Club are our Alumni: executive director Flavio Ricciardella, a management engineer, and brand manager Jacopo Pulcini, a designer.
Ricciardella and Pulcini have talked to us about how the Genoa club contributed to the success of this song, but let's start from the beginning.
THE WRITING OF THE SONG, WHICH STAYED ON A PHONE
'"Guasto d'amore" is a song with 7 or 8 lives,' as its creator, the Genoese rapper Bresh, 26, confessed to Radio Deejay. 'It all started one night with a friend of mine, Luca Caro, who played the guitar while I recorded a vocal on WhatsApp. The next day we randomly filmed a video at the beach. I kept that video in my phone for a year, then I randomly showed it to a friend who said "Post it!". At that point, the video went somewhat viral among Genoa football fans and a circle of my fans. Mattia Perin (Ed: former Genoa goalkeeper) invited me to his house to sing it while he played the piano.'
Perin, who was captain of the team in 2021, fell in love with it and reposted it on his social media.
Then last year 'when Genoa were already relegated to Serie B, the fans made a choreography using red and blue colours and singing the verse "the same colours that fall into the sea / when the sun sets, without saying goodbye", then I wrote the second verse and finally started doing concerts.'
SPOTIFY HIT
The song was released on Spotify and, on 2 February, it went straight to the top of the weekly Fimi/Gfk chart of the best-selling, most listened to and most downloaded singles in Italy in the previous seven days.
The song beloved by the Genoa football fans was released on streaming platforms on 27 January, but it had entered the fans' collective imagination long before that. Since 27 January, however, it has begun to go beyond football and fans.
From a verse written one evening with a friend, to a stadium chorus, to a universal hit: number one on Spotify Italy and over 10 million streams.
HOW RICCIARDELLA AND PULCINI CONTRIBUTED TO THE SONG'S SUCCESS
Brand manager Jacopo Pulcini explained how the Genoa football club has capitalised on fans' love for the song: 'Since it came out, the song has become a fixed moment in our pre-match setlist, the whole stadium sings it, it creates a unique atmosphere. And when we play at night, we turn off the stadium lights and the fans turn on their mobile phone torches. It’s moving and fascinating.'
'After seeing the choreography that the fans made when we had already been relegated,' added executive director Ricciardella, 'we planned the season ticket advertising campaign using that verse as a slogan: "the same colours that fall into the sea / when the sun sets, without saying goodbye".
'I have a love breakdown when I see the Griffin, my stomach trembles and my voice vibrates. And when I see you, you make me fall in love, because if you cheat, I'll let it pass. The same colours that fall into the sea when the sun sets, without saying goodbye.'
Verses that have had an impact on the collective Genoese, and then Italian, unconscious. It's a story to be studied: 'Despite relegation, after 15 years in Serie A, our fans celebrated at the end of last football season. It was an important moment because the fans had already adopted "Guasto d’amore" as their favourite song back then.
'Out of our social media content this season, the posts involving this song are noticeably the best performing of all, it’s important for us to be relevant for everything off the field as well as on,' Pulcini said.
A SIMPLE STORY, BUT DIFFICULT TO REPLICATE
On closer inspection, the story is simple but difficult to replicate: Bresh is from Genoa, a Genoa football fan who goes to matches and is a rapper. Come to think of it, there are many fan musicians, but perhaps only Venditti's songs with Roma can boast a stronger bond than Bresh and Genoa.
THE ROLE OF RICCIARDELLA AND PULCINI AT GENOA FOOTBALL CLUB
Executive Director Flavio Ricciardella, 43, graduated in management engineering from Politecnico in 2007. He joined Genoa football club in 2009 and has held the position of executive director since 2019: 'As executive director I take care of all areas outside of sport, ie the management part. Of course I interact with the sports element, but I don't choose players or enter into technical issues. As a young man I was a football referee at inter-regional level.
'Management engineering has been useful to me, my study background is important in my role. I joined Genoa at a time when football clubs were getting themselves organised.'
Flavio Ricciardella
Jacopo Pulcini
Jacopo Pulcini, 34, is from Genoa and a Genoa football fan. He graduated in communication design from Politecnico: 'I finished in 2013, then worked in the world of sports, collaborating with Sky Sport and Juventus in digital and social communication. I was then an employee of Inter football club for four years, from 2018 to 2022.
'Now I’m back home, at Genoa football club. I’m the Brand and Marketing Manager here, I take care of the club's visual identity, the promotion and sale of Genoa-themed products and the development of our brand image. The work done with Bresh has given our brand great visibility, helping us to reach and engage new generations and audiences not necessarily interested in football.'
What does UX design have to do with caring for post-stroke patients? The answer is provided by the team of students from the Alta Scuola Politecnica, who developed a project that does just that and that won them the UX Design Awards 2023, the global competition for excellent experiences, showcasing products and concepts that provide meaningful solutions for real needs, effectively creating positive change.
The team is made up of five engineers and a UX designer: Chiara Giovannini and Fedele Cavaliere (Alumni Politecnico di Milano), Alessandro Celauro, Paolo Tasca, Chiara Noli and Richard Volpiano (Politecnico di Torino), who together created the UX Design Award winning DEUHR project.
Credits: Michele d’Ottavio – Politecnico di Torino
DEUHR: HOW DOES IT WORK?
Digital Exergame for Upper limb and Hand Rehabilitation (DEUHR) introduces the gamification of exercises and technologies to post-stroke care, at home or in a rehabilitation facility.
Credits: Michele d’Ottavio – Politecnico di Torino
Patients can access daily workouts, track their progress and receive clinician feedback via a digital app. With DEUHR, therapists can manage all phases of care, from initial setup, to daily monitoring, to perfecting the rehabilitation plan.
Credits: Michele d’Ottavio – Politecnico di Torino
There are multiple benefits: the gamification of the rehabilitation process actively engages patients because they can do rehabilitation exercises that are incorporated within the video game. What’s more, in part thanks to the modular structure of the design, the rehabilitation process becomes less time consuming for therapists, who can customize care, add new exercises and monitor multiple patients just by checking the app.
In the future, DEUHR could be extended to other parts of the body and to other types of diseases, both physical and cognitive, with the aim of building a more inclusive social environment resulting in the faster reintegration of patients into society.
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