• Journal of architectural history
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• v.28 no.5
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• pp.71-82
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• 2019

The purpose of this study is to establish the relationship between Durand's architectural theory which provided reasonable architectural logic in the early 19th century, and architectural logic of the Modern Movement of Architecture led by avant-garde architects in the 1920's. The system of thought in architecture proposed by Durand which clarified a architectural design method(composition) is very similar to the one of the International Style(Book), which summarizes commonalities in the flow of modern architecture. This approach has something in common from the perspective of the systems of thought, despite differences in external forms and time gaps. Therefore, this study intends to examine the systems of thought in three ways. It is to examine how the two systems of thought define architecture, what is the logic of building production, and finally the value of architecture (including aesthetic values) while eliminating classical aesthetics.

• Journal of architectural history
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• v.11 no.4 s.32
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• pp.99-115
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• 2002

Centered on Durand and Le Corbusier, this study analyses the changing status of the grid and axis in modern architecture. In the Renaissance, the taxis grid operated as a contour grid, defining the elements and space of the building as part of closed harmonized world. In his Pre'cis des lec., ons d'architecture, Durand provides the most explicit demonstration of a new modem grid in which its lines function as spatial and structural axes. In principle these axes are coordinates for the placements of a priori elements but in Beaux-Arts practice, as Durand himself acknowledged, they involve a simultaneous process in which the spatial axis sets up the basic parti and the structural axis is developed into the building's poche'. As a coordinate, Durand's grid provides a place for the 'subject' to enter the architectural process. At the same time, it is the object of the subject's gaze, the dense site of the subject's transformative actions. Though Le Corbusier is noted for his frequent attacks on the academic system, his architecture should be seen within the continuity of the classical tradition. He redefines the Beaux-Arts axis as a moving and seeing observer, and continues the discipline of the plan, the essential discipline of the Beaux-Arts system. In his dialectics, an intellectual scheme which extends to his commentators, the intention and will of the subject must come in tune with the objective material form of the building. Like Durand, Le Corbusier's axis provides the medium for the subject to enter. Unlike the Beaux-Arts system, however, Le Corbusier's mobile subject no longer has a holistic view of the building previously provided by the central axis. If there is a parti for Le Corbusier, it consists of the domino grid as a potential, but nonetheless, tangible form. In comparison with the Beaux-Arts structural grid, his gaze no longer lingers on their lines because they no longer constitute a formal process tied to the development of a thick articulated structure. Le Corbusier's grid constitutes a 'loose' form, one that breaks down the hierarchical nature of the Beaux-Arts system.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.8
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• pp.189-199
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• 2017

The purpose of this study is to compare the grid usage that is common to Leonardo da Vinci and J.N.L. Durand in the process of designing the architectural plan. In the days when there was no proper measurement tool, auxiliary lines relied entirely on the architect's personal mindset and design convenience. Therefore, it is considered that studying the auxiliary lines drawn by the architects will be useful for studying the human perception system. Among auxiliary lines, the grid has been used by many architects. Leonardo da Vinci and J.N.L. Durand are famous. However, these two show a significant different grid usage. As auxiliary grid and space ares added the center of the Leonardo da Vinci grid continues to move, and the grid in his sketch is becoming a building space itself. So I call it 'conceptual grid'. In the case of J.N.L. Durand, the one center of the grid is always at the center of the drawing. That is, all the positions of the grid can be determined in phase around a common point, and all of the same specifications are assumed. The grid is a kind of filter. That's why his grid is a visual abstraction of the process of thinking. In this paper, I will call the grid of J.N.L. Durand as 'abstract grid'.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.131-151
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• 2011

The study alms to identify how the symbols and images of Greek Roman myths in contemporary fashion have been reflected in respects of meaning and forms, and to find out the organic course from meaning to forms by using Durand's classification. The results define the significance of Greek Roman myths in contemporary fashion, and systematically suggest a direction of imagination for more creative design. In the diurne regime, the symbolism of purity, heroism and fear appeared. In the nocturne regime, the symbolism of maternity and sensuality appeared. In the dramatic regime, the symbolism of androgyny appeared. The characteristics of designs contained in each symbolism are common. In this regard, it is possible to trace organic relationships in the creation of images through the verbal scheme. In addition, the verbal scheme creates archetypal images that lead to images and symbols in the socio-cultural context, so it is possible to analyze the relationships between archetypal images and the format of garments. The study examined how the archetypal images that appeared in the mythical images were expressed in garments through the verbal system.

• Asian-Australasian Journal of Animal Sciences
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• v.2 no.3
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• pp.388-389
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• 1989

• The Korean Journal of Mycology
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• v.13 no.1
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• pp.27-40
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• 1985

Two-hundred fifty specimens of Discomycetes were collected, for the most part, at Gwangneung, Mt. Deokyu, Mt. Seulak, Mt. Sungsu, Mt. Paldal, from March, 1982 to July, 1984. These Discomycetes were identified and classified into 2 orders, 9 families, 18 genera and 23 species. Among them, Helvella pezizoides Afz. ex Fr., Peziza celtica (Boud.) Moser, Humaria hemisphaerica (Wiggers ex Fr.) Fuckel, Trichophaea gregaria (Rehm) Boud., Trichoglossum walteri(Berk.) Durand, Spathularia flavida Pers. ex Fr., Arachnopeziza aurelia (Pers. ex Fr.) Fuckel, Rutstroemia americana (Durand) White, Rutstroemia macrospora (Peck) Kanouse apud Wehmeyer forma gigaspora Korf, Ascocoryne cylichnium (Tul.) Korf, Bisporella citrina (Batsch. ex Fr.) Korf et Carpenter, Chlorosplenium chlora (Schw. ex Fr.) Curtis, Chlorociboria aeruginascens (Nyl.) Kanouse ex Ramamurthi, Korf et Batra subsp. aeruginascens, Hymenoscyphus scutula (Pers. ex Fr.) Phillips, Cyathicula cyathoidea (Bull. ex Fr.) de Thumen were new records in Korea. These species are described and their Korean names are designated.

• Journal of Korea Game Society
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• v.9 no.3
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• pp.3-14
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• 2009

This study examines how game narratives are analyzed in a structuralism mythology and make theoretical bases which can explain game narratives, and finds out the meaning of myths in game narratives. Many studies on the relationship between games and myth have been researched. However, these are meaningful in terms of how myths are reflected on narratives as a hero narrative. This article investigated the relationships between game narratives and the theories of Levi-Strauss and Gilbert Durand who are structuralism mythologists. As a result, restructuring and synchronicity on the structuralism mythology can explain game narratives which are different from written language narrative, and myth, a spoken literature, is meaningful in that it restructures the forgotten orality in game narratives.

• Proceedings of the Korean Powder Metallurgy Institute Conference
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• 2006.09b
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• pp.921.1-921.1
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• 2006

• Journal of the Korean Mathematical Society
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• v.60 no.1
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• pp.1-32
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• 2023

In this paper, we present a method of characterizing minimal polynomials on the ring 𝐙_p of p-adic integers in terms of their coefficients for an arbitrary prime p. We first revisit and provide alternative proofs of the known minimality criteria given by Larin [11] for p = 2 and Durand and Paccaut [6] for p = 3, and then we show that for any prime p ≥ 5, the proposed method enables us to classify all possible minimal polynomials on 𝐙_p in terms of their coefficients, provided that two prescribed prerequisites for minimality are satisfied.

• The Journal of the Korea Contents Association
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• v.11 no.8
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• pp.134-141
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• 2011

This study attempts interpretation of the elements of transcendental fantasy appeared in animation. It is about the characteristics of the different spaces from the reality appeared in animation created out of imagination. In regard to the reason why such aspects of fantasy elements appeared in the whole work appear, it presents the three structures including divisional, fantasy and comprehensive structures and characteristics of spatial images of imagination presented in Gilbert Durand's "Les Strutures anthropologiques de l'Imaginaire", through visual nature, depth, and maldistribution. Thus, this study examines the elements in animation . Transcendental fantasy elements give abstract concepts to certain images as it specifically describes them in reality. The fantasy elements operate when it is viewed through the sensibility of the characters. This study attempts to closely approach the issues on how fantasy elements operate in animation.