Seizing the sensitive turning point in the studies on inhabited spaces, this essay tries to clarify the unexpected resources on the sonic dimension of architecture. Exploration opens up three orders of questionings. The first one, of phenomenological influence, on the acuity of the sense of hearing, associated with other senses in the experiment of lived spaces. The second one, with pragmatic tendency, the sound in the production of inhabited space, which could have impact in the past and can have tomorrow. Lastly, the third one, more theoretical, which seeks to define the dynamics of sound space. In order to raise these questions, I chose to revisit architecture on a resolutely personal angle based on my own experiences. I supplemented this experiential approach by sensible narratives of certain authors who know to seize the sound in their space explorations : Peter Szendy, Henry David Thoreau, Rainer Maria Rilke, John Avery Lomax, Philippe Rahm, Catherine Grout, Henry Torgue, Alain Cavalier. It is thus starting from those narratives in situ experiences, founder or more banal ones, I intend to restore the imaginative power of listening like a way of being in the world, passing insensitively from a floating listening to an expert attention. The cross-analysis of the narratives gradually results in reinterpreting the four levels of attention of audible, borrowed from the composer Pierre Schaeffer and revisited, inter alia, by François Jullien and Pascal Amphoux: to hear, to listen, to make sense of, to understand. From experience to experimentation, today, I envisage a scientific project oriented on the experimental one in forms of search-creation which guarantee an explicit assignment of the sounds. That the use of sound as a medium which is integrated into the process of the project is more natural for the professionals of the space. That the architects can experience their ideas in auditoriums in a new manner. That these experiments of immersive restitution can contribute to invent holistic, sensitive methods where the analysis, the design and, in fine, the production of built space are hybridise more than following each other. In distance to the emergent economy of sensory marketing, the attention economy to the sound, evoked by Matthew Crawford, is perhaps a new way, focused on the experiment that the spirit of synthesis of the architect could carry. The researcher in architecture keeps his/her role of the one putting into tension the sound space in action.