Radial Distortion Self-Calibration

In cameras with radial distortion, straight lines in space are in general mapped to curves in the image. Although epipolar geometry also gets distorted, there is a set of special epipolar lines that remain straight, namely those that go through the distortion center. By finding these straight epipolar lines in camera pairs we can obtain constraints on the distortion center(s) without any calibration object or plumbline assumptions in the scene. Although this holds for all radial distortion models we conceptually prove this idea using the division distortion model and the radial fundamental matrix which allow for a very simple closed form solution of the distortion center from two views (same distortion) or three views (different distortions). The non-iterative nature of our approach makes it immune to local minima and allows finding the distortion center also for cropped images or those where no good prior exists. Besides this, we give comprehensive relations between different undistortion models and discuss advantages and drawbacks.

Contribution towards a reflection about methodological strategies in design education and the function of drawing in design

This work presents a reflection on Design education and specifically on the role of Drawing in this area. As a subject, Design has expanded its field of action expanding into new areas such as Experience Design or Service Design. It became necessary for the designer to have more than an education based on technological knowledge or know-how. Many authors like Meredith Davis, Don Norman or Jamie Hobson point out the urgency to review the curricula of Design courses because nowadays “… design is more than appearance, design is about interaction, about strategy and about services. Designers change social behavior” (Norman 2011). When shifting from a product-centered design to a person-centered design (in a structure, a service or in a relationship) what should the function of drawing in a design course be? What should its curriculum be? Our work methodology will be to confront today’s perspectives on design theory and practice in an attempt to add to the discussion on the methodological strategies in design teaching in the contemporary context.

Contribution towards a reflection about methodological strategies in Design Education and the function of Drawing in Design

This work presents a reflection on Design education and specifically on the role of Drawing in this area. As a subject, Design has expanded its field of action expanding into new areas such as Experience Design or Service Design. It became necessary for the designer to have more than an education based on technological knowledge or know-how. Many authors like Meredith Davis, Don Norman or Jamie Hobson point out the urgency to review the curricula of Design courses because nowadays “ … design is more than appearance, design is about interaction, about strategy and about services. Designers change social behavior” (Norman, 2011) When shifting from a product-centered design to a person-centered design (in a structure, a service or in a relationship) what should the function of drawing in a design course be? What should its curriculum be? Our work methodology will be to confront today’s perspectives on design theory and practice in an attempt to add to the discussion on the methodological strategies in design teaching in the contemporary context.