The project occupies by the place, where urban s and natural landscape meet together. The place is characterized by the topografy and the water - river Svratka. The water was determinant for the general proposal, where I create new river basin by which I bring the element of water inside the territory. In the surrounding of new river arm are concentrated sports and relaxation activities. Creating new parc rich of various character of places a develop the territory from the inside. This part represents the element of nature. The football academy is placed into the northern part with more solid and racional ordering, representing the element of human.

Cette thèse interroge la manière dont le développement durable est saisi par les concepteurs en agence d’architecture, d’urbanisme et de paysage. Elle analyse ce que les tentatives d’appropriation disent du fonctionnement de telles organisations, de leur place dans le processus de projet, et de la diversité des valeurs qui peuvent s’y développer. Basé sur l’observation in situ d’une agence parisienne d’une vingtaine de personnes entre 2010 et 2013, notre travail définit trois axes de recherche autour : des approches, contenus et statuts accordés au développement durable par les concepteurs ; des systèmes de valeurs portés par les concepteurs et leur évolution à l’épreuve du développement durable ; des compétences et du rôle des concepteurs dans la fabrique urbaine au prisme du développement durable. La démonstration met en lumière la diversité des approches et statuts accordés à celui-ci. Les compétences apparaissent comme un enjeu d’appropriation cognitive et opérationnelle, mais aussi de concurrence interprofessionnelle. En outre, les concepteurs s’appuient sur des systèmes de normes et de valeurs répondant aux logiques parfois contradictoires des mondes marchand, industriel, civique, de l’opinion, et de l’inspiration (Boltanski, Thévenot, 1991). Les tentatives d’appropriation du développement durable renforcent plus qu’elles ne transforment les tensions entre ces logiques. Cette thèse vise à enrichir la connaissance des mécanismes d’appropriation du développement durable par les acteurs de l’aménagement et de l’urbanisme. Elle participe à la compréhension des modes de fonctionnement d’un acteur particulier : le concepteur appréhendé dans le collectif de l’agence. / This thesis examines the ways in which designers in architecture, urbanism and landscaping agencies take sustainable development into account in their professional practices. It looks at what their attempts to appropriate sustainable development reveal about the operations of such organizations, the place of the latter in the project process, and the diverse positions and values that can develop as a result. Based on the in situ observation of a Parisian agency of about twenty designers between 2010 and 2013, our work has led to the definition of three axes of research : the approaches, contents and statuses that the designers attribute to sustainable development ; the designers’ value systems and how these evolve when they are faced with sustainable development ; the designers’ skills and roles in creating sustainable cities. The findings highlight that there is diversity in the designers’ approaches and priorities with regard to sustainable development. Skills appear to play a role in cognitive and operational appropriation, but also in the competition between professions. Furthermore, designers base their practices on norms and values that stem from the sometimes conflicting logics of the market, industrial, civic, fame and inspired worlds (Boltanski, Thévenot, 1991). The designers’ attempts to appropriate sustainable development reinforce rather than transform the tensions between these logics. This thesis aims to increase the knowledge about the mechanisms at play when urban design stakeholders adopt sustainable development. It contributes to a better understanding of the modes of operation of designers, observed in the environment of their agency.

[pt] O trabalho analisa relatos de memória, escritos poéticos e discursos urbanísticos sobre o Parque do Flamengo, construído no Rio de Janeiro entre os anos 1950 e 1960, para compreender o papel da imaginação e da linguagem em sua criação como artefato cultural na história da cidade. A implementação do plano urbanístico iniciada nos anos 1950 foi reelaborada na década de 1960, durante o Governo de Carlos Lacerda pelo Grupo de Trabalho, equipe multidisciplinar coordenada por Lota Macedo Soares e tendo à frente o arquiteto Affonso Eduardo Reidy e o paisagista Roberto Burle Marx. O jardim modernista carioca por eles projetado – obra paisagística e arquitetônica desdobrada em ambiente edificado, suas imagens e os discursos produzidos sobre ele – ganha significado na tese como forma cultural que articulou interpretações conflitantes da história expressas na cidade; que relacionou motivos míticos e históricos do jardim e da paisagem com métodos paisagísticos modernos; e que interconectou memórias e projeções de uma cidade imaginada. Entre os registros dessa obra coletiva, destaca-se a poesia de Elizabeth Bishop que recria as paisagens locais em novas imagens. Imaginar a cidade é ato poético, político e ético de seus habitantes, sempre um intercâmbio entre a dimensão subjetiva e a dimensão social. É a forma moderna de habitá-la: construí-la como cidade metafórica que conecta a experiência fugaz, fragmentária e conflituosa da vida metropolitana a alternativas possíveis de como as coisas poderiam ser. / [en] This work examines memory narratives, poetical writings and urbanistic discourses about the Parque do Flamengo, built in Rio de Janeiro during the 1950s and 1960s, in order to understand the role of imagination and language in its construction as a cultural artefact in the city s history. The implementation of this urban plan was started in the 1950s and was reworked in the 1960s, during the Government of Carlos Lacerda by Grupo de Trabalho, a multidisciplinary team coordinated by Lota Macedo Soares and headed by the architect Affonso Eduardo Reidy and the landscape architect Roberto Burle Marx. This modernist carioca garden – an architectural and landscape work threefold unfolded as a constructed environment, its images, and the accompanying critical discourses – gains importance in this thesis as a cultural artefact that brought together conflicting interpretations of history expressed in the city; entailed mythical and historical motives from garden and landscape to modern landscaping methods; and was the very fabric of memories and projections of an imagined city. Among others historical records of this collective work, the poetry of Elizabeth Bishop recreates the local landscapes in new images Imagining the city is a poetic, political and ethical act of its inhabitants, ever an exchange between subjective and social dimensions. It is the modern way of inhabiting the city: building it as a metaphorical city that links the fleeting, fragmentary and conflicting experience of urban life to possible alternatives of the way things could be.