This article presents the results of a study on the traditional settlement patterns of the Somba people, living in the department of Atacora, north-western Benin. Adopting a methodology based on both a generative approach and André Corboz’s (1983) territory–palimpsest analogy, the study specifically questions the ‘dispersed’ character of the Somba habitat. Built upon two hypotheses, according to which Tatas Somba settle approximately to pre-existing Tatas and near to watercourses, this study seeks to understand the reasons and conditions of this dispersal throughout history. By cross-checking on-site inventory and geographic information system data allowing to analyse the distances between Tatas, archaeological sites and nearby watercourses, and thus revealing the permanent, the persistent, and the disappeared landscape elements, this article aims to prove that the settlement of the Tatas Somba is not determined by geometrical compositions, landmarks, or infrastructures, but rather by a combination of social, agricultural, environmental, and subsistence factors.
Through a Mediationist Theory of Architecture based on Jean Gagnepain's much wider theory of mediation, this theoretical essay discusses the idea that is referred to here as the architectural fact. Its first section therefore presents the five hypotheses of Gagnepain's theory of mediation and also the definition of architecture that he has suggested. The second part of the essay provides a more detailed definition of the architectural fact and an explanation of the rational principles of its emergence. It involves a clarification of the fundamental notions of form and formula, key concepts of the Mediationist Theory of Architecture. Deepening our understanding of the architectural fact, the essay's third section attempts to explain how it arises within the design process. To do so it provides a contrasting study of, firstly, a series of Palladio's villas, and secondly, the different versions of the Kimbell Art Museum as designed by Louis I. Kahn and his team.
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