The main argument of the dissertation is structured around the relationship of innovation and modularity with a special focus on innovation openness. This research took a grasp in understanding the context, the classics, story of Italian design, and Made in Italy at the same time exploring design today: based on a field work in Milan, Lombardy. Case study method proved to be as most suitable for answering the explorative nature of this research. The approach was thus relying on secondary data, desk research and observation for understanding the context both from the angle of tradition and current discourse, as for reaching the next level: collecting cases worth to pursue. The cases presented were chosen to elucidate the targeted questions, and to open the path for further research. However, obstacles faced on the field narrowed the cases covered, and the breadth of the investigation of each case study. Limitations in data access did not allow going beyond the story, I had to rely on what was constructed by the company itself. Despite these obstacles the analysis benefited from the perspective of communication and branding: it made possible to investigate a complex innovation effort. This proved to be a valuable insight, since design-driven industries are driven by producing meanings, forming the discourse where communication plays a key role. This work explores what modularity means in production opening up the perspective toward the aesthetic and semantic realm of production of goods. Furthermore in search for the locus of innovation it examines the relationship of modularity, innovation and openness. By exploring architectural innovation [Henderson and Clark 1990] I found that core design concepts that define the direction of technological improvements enter the conceptual frame of innovation: • What was interpreted as ‘values’ by the company defining the design are proven to be core design concepts in the conceptual frame, as they define here a technological and conceptual [stylistic] frame. • Thus, architecture draws here a semantic and aesthetic frame of conveying meanings. [Not just merely defining the technological construction of the artifact described by the interaction of the elements]. • Procedural innovation [coined by me]: the effort that evolves around the main objective to most efficiently elaborate on the core design concepts in technological, and semantic realms. Further findings of the case studies suggest that open methodology of design and innovation is prone to come from third parties to established firms: • open design methodology as a communication strategy that contributes to innovation practices of the company, and not as a conscious strategy coming from the other way round. Here technological and communication tools are intertwined, as they are conveying meanings defined by the core design concepts • Firms in need for raising their capacities and reshaping organizational routines to innovate turn to third parties in the Knowledge-Intensive Business Services • elucidate hybrid forms of innovation Adding to theory The above-mentioned empirical findings were backed by a concise summary on: • open/ user/ collaborative innovation scholarship • links between modularity and innovation • and understanding the relationship of modular design in the history of design and architecture; also elaborating the: • Semantic frame of innovation: where the product is an architecture of meanings • Framework for understanding stylistic realm of conveying meanings and innovation • Linking modular design of products as a conceptual approach [aesthetics] and linking it to production from an evolutionary perspective Adding empirical insights to be considered for • Organizational theory: namely redefining the boundaries of the firm • Innovation openness: based on the locus of innovation • Modularity: apart from focusing on production, organization and that modular construction of goods has also a conceptual meaning (conceptually exploring the relationship of modular design and integrality with examples from architecture and classics of Italian design). Considering goods as an architecture of meanings and firms producing brands rather than goods, it draws on the implications of arrangement of production.

Over the past three decades, the digital and information revolution has reshaped design methodologies, offering dynamic and multi-level modelling approaches. Urban Digital Twins have emerged as a powerful tool for Smart Cities, facilitating scenario assessments and citizen engagement. However, rural and mountainous areas face challenges due to poor connectivity and digital infrastructure, hindering technological advancements in design processes. This doctoral thesis aims to develop sustainable workflows for virtual landscape reconstructions, integrating diverse data sources and tools to support landscape and urban design in mountainous regions. The concept of a ready-made model is introduced, assembling digital procedures to address specific contextual challenges. The research employs qualitative and quantitative methodologies across different landscape scales and case studies in the Autonomous Province of Trento, Italy. Experimental-instrumental findings contribute to theoretical-methodological insights, enhancing understanding of complex territorial transformations. The thesis focuses on landscape topography, built environment, and green infrastructure, providing a holistic perspective for digital reconstruction and management. The ultimate goal is to create a Territorial Digital Twin, a three-dimensional repository of knowledge and simulator for resilient futures, bridging gaps in strategic planning and process management at the landscape scale.

The Reverse Engineering (RE) techniques and the Finite Element Modelling (FEM) are widely used tools in many scientific fields. They were firstly developed for the mechanics but in the last times became common for other disciplines. In the thesis these techniques are used for the customization of the wearable products. It is possible to observe that the geometry of whatever wearable product is fundamental for the comfort. In particular, starting from the need of wearable product it is possible to analyse the relative body part and to study the products most appropriate interface geometry to maximize the comfort. The related disciplines are biometrics, biomechanics and anthropometry. In the thesis four different non-contact RE techniques are taken into account: shape from stereo, shape from silhouette, shape from laser and range finding. The first instrument which has been developed is based on the multi stereo vision, focusing the attention to the data filtering and to the generation of the solid model represented by mesh. The second instrument is based on the model generation starting from the silhouette. These two techniques are compared to another laser instrument available on the market. The tolerance on the reconstruction give an error on the total length of the foot of about 2 mm. The tolerance is acceptable for the study of a footwear product anyway it is not sufficient for a scientific research. For this reason a fourth RE system based on range finding is studied. A lot of possible methods were analysed, the multifrequencies, belonging as Fringe Projection Profilometry (FPP) group, has been considered the best compromise between precision, accuracy and elaboration times. An instrument has been developed which in few seconds performs the reconstruction using common, cheap products such as a projector and a camera. The use of the aforementioned RE techniques allowed to adequately reconstruct the geometrical model of the foot, then the deformation of the foot is studied using a Finite Element Analysis (FEA). A model characterized by nearly 200000 elements has been developed. The deformations are congruent with literature data. Anyway, considering the complex validation process of the FE model, caused by the difficulties on measuring the real displacement of the foot under loading condition, a direct matching between the acquired geometry and the final shape of the wearable product has been preferred. A function, capable to analyse the fitting between foot and shoe, through a coefficient called comfort index has been developed.

Le terapie espressive sono considerate tecniche di intervento particolarmente efficaci da impiegare con bambini vittime di catastrofi naturali. In particolare diversi arti-terapeuti affermano che per bambini vittime di traumi, il disegno rappresenta una modalità preferenziale per esprimere emozioni poiché consente di rappresentare la complessità di vissuti , percezioni, pensieri e memorie di natura traumatica, attribuendo loro una forma e, quindi un senso. Nonostante questo l’efficacia dell’impiego dello strumento non è stata scientificamente dimostrata. Questa tesi presenta due studi, uno studio pilota e uno studio principale, finalizzati ad esplorare l’utilizzo del “test de trois dessins: avant, pendant et avenir” come strumento diagnostico e tecnica terapeutica da impiegare con bambini vittime di terremoti di Abruzzo, Haiti e Cile. Lo studio pilota è basato sull’analisi qualitativa di case-studies,mentre lo studio principale utilizza strumenti quantitativi e qualitativi. I risultati mostrano l’efficacia dello strumento nel rilevare la presenta del trauma psichico e nel favorire processi di elaborazione del trauma. Ricerche future sono necessarie per attuare una validazione dello strumento come tecnica diagnostiche e strumento terapeutico con bambini vittime di traumi. / Expressive therapies are considered one of the most effective intervention modality with children who have experienced traumatic events such as natural catastrophes. Particularly, several art therapists affirm that for trauma affected children, drawing is a preferential mode for expressing emotions, as it gives them the possibility of conveying the complexity of traumatic feelings, perceptions, thoughts and memories, by giving them a shape and, therefore, a sense. Notwithstanding these assumptions, the efficacy of art therapies with children exposed to natural disasters, has not been research proved. This thesis presents two studies, a pilot study and the main study, aimed at exploring the use of the “test de trois dessins: avant, pendant et avenir”, as a diagnostic tool and a therapeutic technique, with children victims of the earthquake in Italy, Haiti and Chilli. The pilot study is based on non-statistical qualitative observation of case studies, while the principal one employ of both qualitative and quantitative methodology. The results show the efficacy of the test in both pointing out the presence and the extent of the psychological trauma, and in enhancing the process of elaborating trauma. Further researches need to be done in order to validate the use of the “test de trois dessins: avanat, pendant et avenir” as a diagnostic and therapeutic tool with trauma affected children.

Die Untersuchung widmet sich der visuellen Thematisierung autoreferentieller Fragestellungen zur Genese sowie den Grundlagen und Zielen von Malerei in der italienischen Druckgraphik des ausgehenden 16. und 17. Jahrhunderts. Erstmals wird diese bildliche Auseinandersetzung mit abstrakten kunsttheoretischen Inhalten zum zentralen Untersuchungsgegenstand erklärt und anhand von vier hinsichtlich ihrer ikonographischen Dichte herausragenden druckgraphischen Beispielen - Federico Zuccaris Lamento della pittura, Pietro Testas Liceo della pittura, Salvator Rosas Genio di Salvator Rosa und Carlo Marattas Scuola del Disegno – vergleichend analysiert. Neben der Rekonstruktion der Entstehungszusammenhänge befasst sich die Analyse mit dem Verhältnis von Text und Bild, offenen Fragen der Ikonographie, der zeitgenössischen Verlagssituation sowie dem Adressatenkreis und somit schließlich der Motivation für jene komplexen bildlichen Reflexionen über Malerei. Als zentrale Gemeinsamkeit der kunsttheoretischen Blätter, welche im Kontext der römischen Akademiebewegung entstanden sind, konnte das Bestreben, die Malerei im Sinne einer Metawissenschaft über das neuzeitliche Wissenschaftspanorama hinauszuheben, erschlossen werden. Anhand einer umfassenden Neubewertung der einzigartigen Ikonographien wird erstmals aufgezeigt, dass dem Vergleich zwischen Malerei und Philosophie als der Mutter aller Wissenschaften in der visuellen Kunsttheorie des 17. Jahrhunderts eine vollkommen neuartige Bedeutung zukommt. Dieser hat neue Spielräume für die bildliche Definition des künstlerischen Selbstverständnisses eröffnet, die der traditionelle, aus dem Horazschen Diktum „Ut pictura poesis“ hervorgegangene Vergleich zwischen Malerei und Dichtung nicht in ausreichender Form bereit hielt. Folglich thematisiert die vorliegende Untersuchung auch die Frage nach dem spezifischen reflexiven Potenzial des Bildes, seiner medialen Autonomie und seiner möglichen Vorrangstellung gegenüber dem Medium der Sprache. / The study deals with the pictorial examination of self-implicating topics relating to the genesis, the fundamentals and the aims of painting by Italian printmaking of the late 16th and 17th century. For the first time, a research is focussed on the pictorial examination of abstract contents of art theory as shown in the selected and compared examples which are extraordinary regarding their iconographical concentration – the Lamento della pittura by Federico Zuccari, the Liceo della pittura by Pierto Testa, the Genio di Salvator Rosa by Salvator Rosa and the Scuola del Disegno by Carlo Maratta. Besides the reconstruction of the history of origins the research is dealing with the relationship of image and text, problems of iconography, the coeval publishing situation as well as the target audience of these prints and finally the motivation for those very complex visual reflections on painting. As essential similarity of those arttheoretical prints, which all araised within the context of the Roman Art Accademy, has been determined the ambition to specify painting as a kind of Meta-science, which is somehow superior to all other modern age sciences. By means of an extensive reevaluation of the unique iconography of every single sheet it became feasible to illustrate that the comparison between painting and philosophy as the origin of the entire spectrum of sciences has attained a completely new dimension within the pictorial art theory of the 17th century. The novel comparison has opened a wider range and diversity for the visual definition of the artists` self-conception compared to the traditional comparison between painting and poetry, as it emerged from the dictum „Ut pictura poesis“ by Horaz. Accordingly the study deals with the question of the particular reflexive capability of images, their medial autonomy and their potential primacy over language.

Le dessin représente le moyen d'expression privilégié pour un enfant, notamment lorsqu'il est amené à s'exprimer devant à un groupe d'adultes et, de surcroît, lorsqu'il porte en lui plusieurs cultures, comme les enfants de migrants. La recherche qui fait l'objet de cette thèse s'appuie sur une revue de la littérature concernant l'approche psychologique du dessin d'enfant et l'approche transculturelle de l'enfant de migrants. Elle a une perspective complémentariste afin d'enrichir leur pluralité théorique, méthodologique et clinique. Notre recherche se centre sur le matériel créé par les enfants, les dessins produits au sein des consultations transculturelles du Professeur Marie Rose Moro, dispositif de psychothérapie familiale et groupale, des Hôpitaux Cochin (Maison de Solenn - Paris) et Avicenne (Bobigny). La population de notre recherche est constituée de soixante-trois dessins produits par cinq enfants durant les séances transculturelles. Nous avons analysé les productions graphiques et narratives des enfants en lien avec les interactions au sein du groupe. Le processus de co-construction, qui est au coeur du dispositif transculturel, émerge des interactions entre le signe et la parole, entre l'ici et l'ailleurs, entre le monde des enfants et le monde des adultes. Les résultats de nos analyses mettent en évidence l'aspect dialogique du dessin. La production graphique soutient le processus d'élaboration psychique et culturelle de l'enfant, véritable objet médiateur entre les langues, les langages, les cultures et les interactions. Le dessin tient donc une place centrale, non seulement signe de la créativité des enfants mais aussi d'une production narrative et transculturelle partagée et partageable. Notre discussion s'axe sur trois dimensions complémentaires. Premièrement, nous théorisons une lecture transculturelle du dessin d'enfant de migrants ainsi qu'une méthode originale d'analyse qui se structure sur un double axe : les contenus et les valences du dessin. Deuxièmement, nous affinons la compréhension des mécanismes de construction identitaire et de métissage spécifiques aux enfants de migrants à partir de leurs dessins, desquels nous dégageons plusieurs propositions conceptuelles : les mécanismes de clivage dans le dessin, l'objet culturel transitionnel dessiné, la narrativité transculturelle (le voyage symbolisé et l'histoire dessinée), la créativité figurée et l'affiliation culturelle précoce. Troisièmement, nous enrichissons le cadre thérapeutique élaboré en clinique transculturelle en définissant la place du cothérapeute auxiliaire dans une perspective complémentariste à la fois psychanalytique et anthropologique. En effet, l'analyse des mouvements transféro/contre-transférentiels autour du dessin met en évidence l'intérêt pour l'enfant de bénéficier d'une relation privilégiée au sein du groupe afin d'accompagner ses productions graphiques. Notre recherche témoigne des bénéfices tirés par le clinicien - dans la perspective de la rencontre de l'autre - de l'élaboration de la culture (Devereux), de l'altérité (Moro) et de l'enfant en soi, et ce afin de pouvoir accueillir les productions des enfants ''d'ici et de là-bas'' et de les accompagner dans l'élaboration d'un ''chez soi'' créatif et métissé. / Drawing is the preferred means of expression for children in particular when they are asked to express themselves in front of a group of adults, and moreover when it comes to children having multicultural backgrounds such as immigrant children. This thesis's research is based on a review of the available literature regarding the psychological approach of child's drawing as well as the transcultural approach of immigrant children. This complementary perspective aims to enrich their theoretical, methodological and clinical plurality. The research is focused on the material created by the children, the drawings imagined and produced during the transcultural consultations of Professor M.R. Moro, groupal psychotherapy for family, at Cochin Hospital (Maison de Solenn, Paris) and Avicenne Hospital (Bobigny). The research sample consists of sixty-three drawings produced by five children during the transcultural sessions. These drawings along with the narrative productions of the children have been analyzed in relation to the interactions within the group. The process of co-construction, which is at the heart of the transcultural approach, emerges from the interactions between sign and word, between cultures from here and from there, as well as between the children's world and the adult's one. The results of the analysis highlight the dialogical aspect of drawing. The graphical production supports the process of psychic and cultural elaboration of the child, therefore considered as the essential aspect of mediation between the speakings, the languages, the cultures and the interactions. Drawing thus holds a significant place: it is the sign of children's creativity, but also of the narrative and transcultural production experienced and shared. Our discussion is focused on three complementary dimensions. Firstly, we theorize a transcultural reading of the drawings of immigrant children as well as an innovative two-axis analysis method: the contents and the valences of a drawing. Then, we refine the comprehension of the mechanisms of identity-building and interbreeding specific to immigrant children thanks to their drawings. Based on these, several abstract propositions are highlighted: the mechanisms of splitting in the drawing, the transitional cultural object drawn, the transcultural narrativity (the symbolized journey and the history drawn), the figurative creativity and the precocious cultural affiliation. Finally, we enhance the transcultural therapeutic setting by defining the place of the auxiliary co-therapist in a complementary perspective, both psychoanalytic and anthropologic. In fact, the analysis of the dynamics of transfer/countertransference around the drawing enlightens the interest for the child to benefit from a privileged relationship within the group in order to accompany its graphic productions. This research aims to highlight the benefits and advantages taken by the clinician -in the perspective of other one' meeting -in the elaboration of the culture (Devereux), of the otherness (Moro) and of the child in itself, and after all to welcome the productions of the children « from here and there » and to accompany them in the elaboration of a « own world » creative and crossbreed. / Il disegno rappresenta il mezzo espressivo privilegiato per un bambino, soprattutto quando è tenuto a esprimersi in un gruppo d'adulti e, ancor più, quando viene da altrove e porta in sé differenti culture. La ricerca che è al centro di questa tesi di dottorato in psicologia, poggia le sue basi sulla letteratura esistente riguardo sia l'approccio psicologico del disegno infantile sia l'approccio transculturale dei bambini delle famiglie migranti. L'obbiettivo del nostro lavoro è di associare questi due approcci in una prospettiva complementarista per arricchirne la pluralità metodologica, clinica e teorica. La nostra ricerca si fonda sul materiale creato dai bambini, in particolar modo i disegni prodotti durante le consultazioni transculturali della Professoressa Marie Rose Moro, dispositivo di psicoterapia familiale e gruppale, degli ospedali Cochin (Casa degli Adolescenti -Maison de Solenn- di Parigi) et Avicenne (Bobigny - Parigi). La popolazione della ricerca è costituita da sessantatré disegni prodotti da cinque bambini durante gli incontri transculturali. Abbiamo analizzato le produzioni grafiche e narrative dei bambini in relazione alle interazioni gruppali. Il processo di co-costruzione, strumento principe del dispositivo transculturale, emerge dalle interazioni tra segno e parola, tra qui e altrove, tra mondo infantile e mondo adulto. I risultati delle nostre analisi evidenziano l'aspetto dialogico del disegno, che è, in effetti, fondamentale al processo d'elaborazione psichica e culturale del bambino poiché funge da oggetto mediatore tra le lingue, i linguaggi, le culture e le interazioni. Il disegno assume quindi un ruolo centrale; non solo è segno della creatività dei bambini ma anche della produzione narrativa e transculturale condivisa e condivisibile. La nostra discussione concerne tre dimensioni complementari. Innanzitutto, teorizziamo una lettura transculturale del disegno del bambino di famiglia migrante e un metodo originale d'analisi che prende la forma di una tabella a doppia entrata: le valenze del disegno da un lato, e i contenuti dall'altro. In secondo luogo, affiniamo la comprensione dei meccanismi propri alla costruzione identitaria e al métissage specifici dei bambini di migranti partendo dai loro disegni per declinare diverse proposte concettuali: i meccanismi di scissione visibili nei disegni, l'oggetto culturale transizionale disegnato, la narratività culturale (il viaggio simbolizzato e la storia disegnata), la creatività figurata e l'affiliazione culturale precoce. Per finire, arricchiamo il setting transculturale definendo il ruolo del coterapeuta ausiliario in una prospettiva complementarista tanto psicoanalitica che antropologica. Effettivamente, l'analisi dei movimenti transferenziali e contro-transferenziali rispetto al disegno evidenzia la necessità per il bambino di poter beneficiare di una relazione privilegiata che accompagni le produzioni grafiche nel gruppo terapeutico. La nostra ricerca mostra i benefici, utili ad ogni terapeuta nell'incontro con l'altro, sollevati dall'elaborazione della cultura (Devereux), dell'alterità (Moro) così come del bambino in sé, per poter accogliere le produzioni dei bambini "di qui e di laggiù" e per accompagnarli nell'elaborazione d'un ''sé'' meticcio e creativo.