我甚至发现从Belo Horizonte到Minas Gerais的Inhotim的道路上的旅程都非常感人。当我们驱车穿过村庄，沿着铁轨往布鲁马迪尼奥，铁轨上的金属从矿场上运出，一切似乎都被一片红色的黑色金属尘埃覆盖着，这让它看起来就像一张年迈的紫红色照片。我注意到几辆破旧的汽车正在修理的车库，以及茂密的野草之间山腰上的裂痕。当我走进花园时，我想到了那些图像。突然间，仿佛经过了那么多弯弯曲曲的道路，我们看到了一片完美的绿洲，我们看到了Inhotim：一个植物学和艺术实验室，一个旨在鼓励教育和辩论的地方。

I found even the journey along the road from Belo Horizonte to Inhotim, in Minas Gerais, deeply affecting. As we drove through the villages to Brumadinho alongside the railway tracks that carry metal from the mines, everything seemed to be covered in a reddish, ferrous dust that gave it all the look of an aged sepia photograph. I noticed several garages where dilapidated cars were being repaired, and the gaping wounds in the mountainsides between the lush, wild vegetation. I had those images in mind when I entered the garden. Suddenly, as if a perfect oasis after all those tortuous roads, we saw Inhotim: a laboratory for botany and art, a place intended to encourage education and debate.

 © Cristina Iglesias

c克里斯蒂娜·伊格莱西亚斯

这一初步经验为该项目提供了基本思路。我们寻找一个野生但离花园不远的地方。我想象着在森林中靠近更有秩序的花园的一个房间，从而创造了一条通往Inhotim的植被区域之一的新路径，这是对原始森林的提醒。

That initial experience provided the basic idea for the project. We looked for a place that was wild but not too far from the garden. I imagined a room in the forest close to the more orderly garden, thus creating a new path to one of the areas of vegetation in Inhotim that act as a reminder of the original forest.

 © Cristina Iglesias

c克里斯蒂娜·伊格莱西亚斯

我建了一个没有屋顶的植被房，在森林中央向天空开放，用不锈钢墙反射周围的自然，然后消失，就像伪装一样。它有四个入口，两边各一个。每一扇门都打开一个空间，有诱人的小角落和裂缝，并有开口。

I built a vegetation room with no roof, open to the sky in the middle of the forest, with stainless-steel walls that reflect the surrounding nature and thus disappear, as if camouflaged. It has four entrances, one on each side. Each door opens onto a space with inviting little nooks and crannies and with openings

进入其他内部空间，访问者可以窥视，但不能进入。墙壁是一个虚构的植物组合，有一个重复的主题，从一个空间逐渐突变到另一个空间，几乎不知不觉地增加了许多细节。

into the other internal spaces, which the visitor can peer into, but not enter. The walls are a fictional vegetal assemblage with a repeated motif that gradually mutates from one space to another, with almost imperceptibly multiplying details.

 © Cristina Iglesias

c克里斯蒂娜·伊格莱西亚斯

在结构内部，不可能从一个空间访问另一个空间。你必须离开雕塑，它的外墙反射周围的环境，以便找到另一条路进去。当你从另一边进入时，你将经历的与你刚刚离开的非常相似。虽然你听到流水的低语，但只有当你进入灌木丛最隐蔽的门时，你才会被引到迷宫的中心，在那里，在金属网的地板下，水形成了漩涡。

It is not possible to gain access from one space to the other when inside the structure. You have to leave the sculpture in whose outer walls is reflected the surrounding environment in order to find another way in. When you enter from another side, what you will experience is very similar to that you just left. Although you hear the murmur of running water, it is only when you enter the door most hidden by undergrowth that you are led to the heart of the labyrinth where, under a metallic mesh floor, the water forms a whirlpool.