国际花园节的五个新花园将于2022年10月2日在雷福德花园和梅蒂斯花园（Reford Gardens / Jardins de Métis）展出，其灵感来自主题“适应”，这是人们面临的现实，尤其是在过去两年中。为了生存，人类必须像大自然一样表现出适应力和复原力。来自加拿大、法国和美国的12位设计师用他们的作品邀请参观者前来欣赏并思考我们所面临的这一日常挑战。 The five new gardens of the International Garden Festival, presented at the Reford Gardens / Jardins de Métis until October 2 2022, are inspired by the theme "Adaptation", a reality we are facing, especially in the last two years. To live and survive, humans, like nature, must show adaptation and resilience. Twelve designers from Canada, France and the United States invite visitors to come and reflect on this daily challenge.
国际花园节的五个新花园将于2022年10月2日在雷福德花园和梅蒂斯花园（Reford Gardens / Jardins de Métis）展出，其灵感来自主题“适应”，这是人们面临的现实，尤其是在过去两年中。为了生存，人类必须像大自然一样表现出适应力和复原力。来自加拿大、法国和美国的12位设计师用他们的作品邀请参观者前来欣赏并思考我们所面临的这一日常挑战。
The five new gardens of the International Garden Festival, presented at the Reford Gardens / Jardins de Métis until October 2 2022, are inspired by the theme "Adaptation", a reality we are facing, especially in the last two years. To live and survive, humans, like nature, must show adaptation and resilience. Twelve designers from Canada, France and the United States invite visitors to come and reflect on this daily challenge.
国际花园节的新花园 New gardens of the International Garden Festival
FORTERESSES,由Maison029[Eadeh Attarzadeh, Lorenzo Saroli Palumbo]设计，位于加拿大蒙特利尔。
FORTERESSES by Maison029 [Eadeh Attarzadeh, Lorenzo Saroli Palumbo], Montréal (Québec) Canada.
不幸的是，不受人类接触和干扰的森林也能茁壮成长的理想观念已被证明是错误的。只要人类坚持目前的道路，期望森林实现自我保护就不现实。Forteresses是对森林的一种象征性干预，提出了一种积极的方式来保护植物群免受人类的侵害。每个模块化防御系统的几何形状适应每棵树的大小、类型和年龄。Forteresses除了鼓励人们反思他们对环境的影响并提醒他们我们的植物群通常无法保护自己外，还因其几何形状的美丽而受到赞赏。
The romantic notion of believing that forests spared from all human contact and interference will thrive has unfortunately been disproven. As long as humanity persists on its present course, it has become unrealistic to expect our forests to defend themselves. Forteresses is a symbolic intervention within the forest, proposing an aggressive method to protect our flora from its greatest predator: ourselves. The geometry of each modular defensive system adapts to the size, type and age of each tree. Forteresses is meant to be appreciated for the beauty of its geometries in addition to encouraging visitors to question the impact they have on their environment and reminding them that our flora is often unable to protect itself.
LICHEN，由Marie-Pier Gauthier-Manes，ChloéIsaac，Victor Roussel设计，位于加拿大蒙特利尔和法国巴黎。
LICHEN by Marie-Pier Gauthier-Manes, Chloé Isaac, Victor Roussel, Montréal (Québec) Canada / Paris, France
青苔是一种敏锐，可塑性和可变的植物。它与地形，湿度和环境温度直接接触并对环境的干扰十分敏感，因此是青苔环境变化的宝贵指标。它由小而精致的元素组成一个有凝聚力和抵抗力的结构，用于为其他植物物种打造地被景观。当人们在青苔团块之间徘徊时，可以观察到在其他情况下看不见的元素以五颜六色的图案呈现出来。
The lichen is a perceptive, malleable and mutable organism. It metamorphoses in contact with the topography, humidity and ambient temperature. Like its namesake, Lichen is sensitive to disturbances in its environment and is therefore a valuable indicator of environmental change. Composed of small, delicate elements, it is nonetheless a cohesive and resistant structure that serves to prepare the ground for other plant species. As we wander between its agglomerations, we observe, otherwise invisible, elements reveal themselves in colourful patterns.
受花园中原有的陶罐启发，该装置由1200个手工制作的陶器环组成，这些陶器环在Jardins de Métis的户外窑炉中烧制。这种材料的排水和保水能力允许更恒定的土壤灌溉和更长的水分保留。这样的环境使对温度变化和干旱特别敏感的植物能够和平生长。其热感变色性能使它可以根据温度改变其外观，在整个夏季展现出不同的色彩。
Inspired by terracotta pots, real archetypes in gardens, this installation is composed of 1,200 hand-made earthenware rings that are fired in an outdoor kiln right here at the Jardins de Métis. The drainage and water retention capabilities of this material allow for both a more constant irrigation of the soil and a longer retention of moisture. This environment allows plants that are particularly sensitive to temperature variations and drought to grow peacefully. Its thermochromic treatment changes its appearance according to the temperature to reveal different colours throughout the summer season.
GRAVITY FIELD，由TERRAIN WORK [Theodore Hoerr, Rebecca Shen, Kelly Watters]设计，位于美国纽约。
GRAVITY FIELD by TERRAIN WORK [Theodore Hoerr, Rebecca Shen, Kelly Watters], New York, états-Unis.
植物的适应性非常强。它们可以通过对无数的刺激（太阳，水，温度，土壤和重力）做出反应来维持生命，从而在地球上一些最恶劣的环境中茁壮成长。植物对人类的生存也是必不可少的，它们提供食物、生态系统服务和碳吸收。虽然它们在减轻气候变化的影响方面发挥着关键作用，但植物也很脆弱，必须迅速适应快速变化的气候。GRAVITY FIELD展示了植物在极端艰苦的条件下的适应性。
Plants are extraordinarily adaptive. They can thrive in some of the harshest environments on earth by responding to a myriad of stimuli – sun, water, temperature, soil, and gravity – to sustain life. Plants are also essential to human existence, providing sustenance, ecosystem services, and carbon sequestration. While they play a key role in mitigating the effects of climate change that threaten our existence as a species, they too are also vulnerable and must adapt quickly to a rapidly changing climate. Gravity Field demonstrates the robust adaptation of plants in even extremely strenuous conditions.
向日葵是倒立生长的，当它们朝向太阳生长时会弯曲，无视重力。参观者可以多次参观该装置，体验植物对其环境的适应性：光线，重力性和向日性。虽然未来是不确定的，但GRAVITY FIELD展示了自然强大的韧性，让人们体验到植物和所有生物适应和茁壮成长的乐观和适应能力。
The sunflowers are grown upside-down but will bend up as they grow towards the sun, defying gravity. Visitors can visit the installation numerous times to experience how adaptable plants are to their circumstances: phototropically, gravitropically, and heliotropically. While the future is uncertain, Gravity Field spotlights the powerful resilience of nature and sees optimism in the ability of plants, and all organisms, to adapt and thrive.
LES HUIT COLLINES，由ONOMIAU [No?l Picaper]设计，位于法国巴黎。
LES HUIT COLLINES by ONOMIAU [No?l Picaper], Levallois-Perret, France.
这八座“山丘”被设想为进化的结构，是对生物空间性的想象。通过无生命和有机材料创造了生活效果，呈现出了一座丘陵景观，能够为人类和其他生物（特别是鸟类）提供各种体验。作为一个休息区域、一个微型花园、一个沉思空间和生态水库，该装置为游客提供了大量的空间序列，用于练习、座位、隐藏场所和圆形剧场等。
Conceived as evolving structures, those eight hills imagine biological spatialities. Through inanimate and organic materials, they create life effects. A hilly landscape then appears, capable of offering various experiences to humans as well as to non-humans (birds in particular). Serving as a seating area, a micro-garden, a contemplative space and an ecological reservoir, this project offers visitors a multitude of spatial sequences to practice, seating, hiding places and amphitheatre and more.
这种组合意在揭示环境的丰富性，催化各种生物的其他形式的相互作用。这件作品具有梦幻般的功能，通过柔和的夏日热量及其色调和植物群来影响气候。因此，Les huit collines精心阐述了一个充满意义的景观，这种景观通过其组成和它所庇护的生命循环而永不停止地发展。
The intention, behind this assembly of surfaces, is to reveal the richness of a whole environment, catalyzing other forms of interactions for various living beings. Dreamlike and supporting functions, this work influences the climate by softening the summer heat with its shades and its flora. Les huit collines thus elaborate a landscape charged with meaning that never ceases to evolve both by its composition and by the cycles of life that it shelters.
FORêT FINIE, ESPACE INFINI? ，由Antonin Boulanger Cartier, Pierre-Olivier Demeule, Melaine Niget设计，位于加拿大魁北克。
FORêT FINIE, ESPACE INFINI? by Antonin Boulanger Cartier, Pierre-Olivier Demeule, Melaine Niget, Québec (Québec) Canada.
从远处看，Forêt finie，espace infini？，呈现出一堆锯木头的外观，像是木匠在进行准备工作时凑巧放在那里的。这个被篷布覆盖的装置在夏天的炎热中等待着，被放置在穿越北方森林的小路中间，阻碍了畅通的通道。人们不能绕过它或是跨越它，面对它似乎是不可避免的。
From a distance, Forêt finie, espace infini?, takes on the appearance of a pile of sawn wood that a carpenter might have placed there while waiting for his next project. This defined form covered with a plastic sheeting waits in the summer heat. Rooted in the middle of a path crossing the boreal forest, the installation however obstructs the passage. Without being able to go around it, is it possible to cross it, to face it seems inevitable.
当人们逐渐靠近，篷布的一部分被解开，并邀请人们进入其中。装置内部由精细组装的木板条制成的结构揭示了一条由固体和空隙调节的路径。这些排列巧妙的板条究竟是什么?它们为何要延伸至无限?他们不是被从外面能看到的篷布束缚住了吗？这时如果仰望天空，看一眼高大的树木，就会产生这样的想法：如果我们建造的空间来自一个资源有限的世界，它就不可能是无限的，那么这片精心雕刻的森林还会是无限的吗?
By approaching, a section of the tarpaulin is unhooked, and you are invited to slip into it. Inside, a structure made of finely assembled wooden slats reveals a path modulated by a play of solids and voids. What are all these cleverly arranged slats and why do they seek to reach the infinite? Aren’t they constrained by this tarpaulin that can be seen from the outside? Looking up at the sky, a brief glance at the tall trees suggests a final thought: if the space we build emanates from a world of finite resources and therefore cannot be infinite, could this skillfully sculpted forest able to be?
