Over nearly five years of deep immersion, landscape architecture moved beyond a supporting role to become a structuring force and one of the protagonists of the complex. Sculptural plants from different parts of the world arrived continuously, demanding absolute precision in the selection of positions, visual axes, and angles of perception. Each decision engaged in dialogue with monumental sculptures and the first architectural structures under construction. Art was present everywhere: on the ground, on the horizon, in the gesture itself.

Even before Inhotim’s inauguration, when it was still known as CACI, the Centro de Arte Contemporânea Inhotim, this process was already unfolding with intensity. Among all those involved, there was a clear awareness that something extraordinary was taking shape: a territory in transformation where nature, art, and landscape were being created simultaneously.

The lakes were shaped live on site. The vision of Luiz Carlos Orsini, the force of heavy machinery, and the response of nature itself drew organic, unrepeatable forms, charged with both intention and chance. By 2004, approximately 25 hectares had been designed and signed by Orsini, articulating botanical diversity, spatial composition, and sensorial experience throughout the visitors’ paths.

At Inhotim, nature transcends the garden, and the garden transcends planting beds. The boundaries between where one ends and the other begins dissolve. Landscape architecture envelops, connects, and guides galleries and circulation routes. The garden becomes a work of art in its own right, leading visitors from one experience to the next.

This legacy emerges from a landscape practice committed to planning and building environments that elevate the natural asset to the level of an aesthetic and sensorial experience, one capable of touching the spirit, inviting contemplation, and remaining in memory.