世界と人間の関係を相対的に俯瞰しうる装置を意味する造語「相対温室」は、展覧会と新作のタイトルであると同時に展覧会を構成する個々の作品の在り様もまた反映している。さらに展覧会それ自体は、個別の作品がそれぞれ部分となり、建築や外部の森も含めて会場全体が一つの作品「相対温室」となるようにも構成された。この大がかりな「相対温室」を構成するため、新作《相対温室》はすべてを自身の手で制作し、設置する國府にとって、初めて他者の手の介入を部分的に許した作品ともなった。
《相対温室》、《自動車冷蔵庫》、《Endless Rain》、円形の水のテラスに設置された《虹の高地》、そして敷地内の森に設置される予定であった《Typical Biosphere》から構想された展覧会「相対温室」のテーマの一つは「循環」であろう。アクアリウムから供給された水は樋を通って、器に受け止められ、そこからあふれ出た水がまた再び水槽に戻っていく。水は循環する過程で涼やかな水音をさせながら土を潤し、外部空間と同じ植物を室内で飼いならすように生育させ、盆景的な景観を作り出す。表題作《相対温室》の循環は、水を巡る生命連鎖のシステムを喚起させる。同時に、アクアリウム、プランター、「盆景」は、人間による自然の再現についての様々な様態を示している。
一方《Endless Rain》では、エンジンの熱を冷却するために吸い上げられた水が、再び雨となって降り注ぐ。黄緑色に色付けされた水、自動車という文明の利器は、生命を育む《相対温室》の循環に対し、現代社会における環境汚染を想起させる。しかし車と人、車と自身をしばしば重ねて捉えていた國府は、車を一方的な悪者にはしてこなかった。そう考えると中心にある車は、悪しき公害源というよりはむしろ、我々に近い存在、つまり人あるいは作者自身と仮定することができる。無論人間が生み出す汚染物質の循環も含意されているだろう。一方でそれは動き続けることで起こる歪み（熱）を絶えず処理（冷却）し続ける人間活動の諸問題をより抽象的に示しており、稼動するワイパーは、そうした状況を正しく認識するための意思あるいはリテラシーの象徴としても表されている 。
それぞれの作品が外的環境から切り離され、人間を中心とした循環の様々な様態を相対的に見せる「温室」として作られている一方で、國府は作品が設置された建物そのものを「相対温室」化させている。自然を考慮しながらも人工および理性を示す水平・垂直線を強調する安藤忠雄設計のギャラリー建築とその外側の圧倒的な新緑が芽吹く森の対比を作品構造に取り入れて温室の内外を反転させることで、作品世界と現実世界を入れ子状に重ねることが目論まれた。
かつては降雨装置と植物を配した自然環境を人工的に再現した小さな温室としてギャラリー内で展示された作品《Typical Biosphere》は、本展では逆に内側にテーブルや椅子といった人間生活にまつわるモチーフを設置し、そこから「自然を眺める」作品として深い森の中に設置される予定だった。「温室」の中と外、保護するものと保護されるものが反転した温室は、人間を中心に置くことで逆にその存在の小ささや弱さを意識させたことだろう。円形の水のテラスの中央に設置された《虹の高地》では、反転した車の裏側に現実の森に生きる植物が時間の経過とともに生育するように置かれた。水辺に置かれた車は、反射像で初めて正位置での姿を表す。正位置での車は虚構であり、反転した車の腹に現実（の植物）が息づいている。
二重三重の反転は次第につながり、一つの円環を成していく。それは観念的にだけではなく、特徴的な円形構造の建築構造によって物理的に繰り返される。入れ子状の「相対温室」は、鑑賞者の立ち位置を自在に変化させながら、循環と反転を繰り返すことで、自然と人間の関係を見る者の実感に近い形で浮かび上がらせていく。それは作品のテーマを示すばかりではなく、展示される場所の全てに対して徹底的にアプローチした高度にサイトスペシフィックな作品として、33ヘクタールの森とギャラリー建築を含めたその全体を一つの「相対温室」と変容させた。
國府理のメールより。（2014年3月26日）
The coined term "Floating Conservatory", which refers a device for obtaining a perspective of the relative relationship of the world and humanity, is both the title of the exhibition and a new work, and at the same time it also reflects the characteristics of each of the works from which the exhibition is composed. In addition the individual works of the exhibition itself are each parts, which together with the whole exhibition center including the building and the external forest constitute a single work "Floating Conservatory". In configuring this extensive "Floating Conservatory", it was the first time that Kokufu, who produced and installed all the new works of [Floating Conservatory] by his own hand, permitted partial support in his work by another's hand.
One of the themes of the exhibition "Floating Conservatory", which was configured from [Floating Conservatory], [Car Freeser], [Endless Rain], [Highland under the Rainbow] installed in a circular water terrace, and [Typical Biosphere] which was scheduled to be installed in the forest within the grounds, is "circulation". Water supplied from an aquarium is received into a container via a pipe, and the water that has overflowed from here is again returned to a tank. In the process of circulating the water the soil is wetted while creating a refreshing water sound, plants that are the same as those in the external space are grown within the room, thereby creating a miniature landscape. The circulation in the title work [Floating Conservatory] evokes the water circulating in a biotope system. At the same time the aquarium, the planters, the miniature garden indicate various forms that humans use to reproduce nature.
On the other hand, in [Endless Rain] water that is drawn up to cool the heat of an engine becomes rain again and falls down. Yellowish-green colored water and an automobile, which is a gadget of civilization evoke environmental pollution in modern society, in contrast to the circulation of the [Floating Conservatory] which nurtures life. However Kokufu, who frequently features cars and people as well as cars and himself, did not one-sidedly take automobiles to be the bad ones. Considered this way the car in the center rather than being a bad source of pollution, is close to us, in other words it can be assumed to be people or the artist himself. No doubt it also implies the circulation of polluting substances produced by humans. On the other hand this also more abstractly indicates the various problems of human activities that continuously process (cool) the strain (heat) caused by its continuous movements, and the operating wipers are represented with intention of correctly recognizing this situation or as a symbol of literacy .
Each of the works is cut off and separated from the external environment, and produced as the "conservatory" that relatively shows the various states of circulation with people at the center, but on the other hand Kokufu wanted the building in which the works were installed to be made the "Floating Conservatory". By incorporating the contrast between the gallery architecture of Tadao Ando's design which emphasizes the horizontal and vertical lines indicating artificiality and rationality while taking nature into account, and the forest on the outside with its overwhelming new greenery, reflecting the inside and the outside of the conservatory, so that the world of the works and the world of reality are superimposed like nested boxes.
The work [Typical Biosphere], was formerly exhibited in a gallery as a small greenhouse with an artificially reproduced natural environment arranged with a rainfall device and plants. However in contrast in this exhibition it was to be arranged with the motif of a table and a chair, which are associated with human activities, and from there installed in the deep forest as a work "gazing at nature". A "conservatory" in which the inside and outside, that which is protecting and that which is protected, are reversed with humans placed on the inside brings awareness of how small and fragile our presence is. In [Highland under a Rainbow], which is placed in the center of a circular water terrace, plants that grow in the actual forest are placed on the underside of an inverted car so that they grow with time. The car placed at the waterside appears first in the upright position in the reflected image. The car in the upright position is unreal, and the reality (plant) is living on the stomach of the inverted car.
Double and triple inversions are gradually linked, to form a single circular ring. This is not just conceptually, but is physically repeated by the building structure with its characteristic circular structure. The [Floating Conservatory] in nested form raises up the relationship of humanity to nature in a form close to the actual feelings of the viewer, by repeated circulation and inversion, while freely transforming the standpoint of the viewer. This does not just show the theme of the works, but also the whole including the 33 hectare forest and the gallery building are transformed into a single "Floating Conservatory" as an advanced site-specific work in which the entire exhibit location is thoroughly approached.
E-mail from Osamu Kokufu. (26th March 2014)