Un champ architectural dans la pensée de Georg Simmel ?

Can we speak of "an architectural field" in the thought of Georg Simmel (1858-1918)? In order to answer this question it is necessary to reconstruct a corpus of texts and themes that refer to the terms in relation to contrast, homology and tension - the elementary definition of the Bourdieuian derivation "field" - that form the urban dimension, the city and architecture as building patterns of buildings, objects and places to inhabit the world by giving it a certain configuration, as well as the forms of social life that develop in their field. It is a question of examining to what extent Simmel's work can be relevant and what it can contribute to what in France is called "design sciences" (and in Italy "project cultures"), architecture, town planning, design, and to the philosophical, aesthetic and social thinking that deals with this field. It should be noted that if with such a question one were to seek an explicit synthesis, a systematically organised theory, the answer would certainly be negative. If, on the contrary, we propose to reconstruct and bypass a field of pairs of opposing terms, which define in their juxtaposition an articulated interest and a series of plural tensions, then the search can remain open. The plural field of oppositions relating to the urbanistic-architectural dimension that can be found in Simmel's work is composed, without claiming to be exhaustive, but in coherence with a vision of Simmel's thought based on a kind of law of contrast, by the following "oppositional couples": nature and culture (§ 2), hypersensitivity and anaesthesia (§ 3), aesthetic superadditum and abstraction (§ 4), artistic will and practical functionality (§ 5), connecting and separating (§ 6), ephemeral and eternal or, in architectural terms, solidity and transience (§ 7), freedom and solitude - subjective culture and objective culture (§ 8). Nine contrasts and a tentative conclusion (§9) that this contribution as a whole consists of.