Hortus Conclusus~As a Shared Ecological~Creative Practice : A Serious Place, Peter Zumthor on sheltered places of great intimacy where I want to stay for a long time.

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Original research material from Interiors UCA Farnham 2014.

With a refined selection of materials, Zumthor creates a contemplative space that evokes the spiritual dimension of our physical environment. In doing so, he emphasises the role that the senses and emotions play in our experience of architecture (Zumthor 2011: 15).

The garden is enclosed on all sides yet open to the sky: an architectural setting that offers both protection and openness. Zumthor describes such spaces as "sheltered places of great intimacy where I want to stay for a long time" (Zumthor 2011: 15).

For Zumthor, the garden is more than a collection of plants. Every species evokes distinct memories of light, smell, sound, and touch. Gardens become places where sensory experience and memory are inseparable:

"Every plant name listed here evokes a distinct image; with each of them I associate specific lighting, smells and sounds, many kinds of rest, and a deep awareness of the earth and its flora." (Zumthor 2011: 15)

He continues by describing the garden as the most intimate form of landscape:

"A garden is the most intimate landscape ensemble I know of. In it we cultivate the plants we need. A garden requires care and protection. And so we encircle it, we defend it and fend for it. We give it shelter. The garden turns into a place." (Zumthor 2011: 15)

The enclosed garden becomes a sanctuary—a small protected world held within a larger landscape. As Zumthor observes, "something small has found sanctuary within something big" (Zumthor 2011: 15).

The medieval illustration Orchard from the Bible of Wenceslaus IV (Austrian National Library, Vienna) visualises this idea through the illuminated depiction of husbandry and communal labour within the secure enclosure of a walled garden. The image presents pastoral work as both productive and contemplative, echoing Zumthor's conception of the hortus conclusus as a protected space where cultivation, community, and intimacy converge.

Working with one's hands, cultivating the earth within sheltered spaces, becomes a shared pastoral practice that binds people to place.

Zumthor reinforces this pastoral character by placing a pavilion at the centre of the garden. He imagines it as a place for future gatherings and quiet contemplation, anticipating "the natural energy and beauty of the tableau vivant of grasses, flowers and shrubs. I am looking forward to the colours and shapes, the smell of the soil, the movement of the leaves" (Zumthor 2011: 15). The garden is therefore experienced not only visually but through the full range of the senses.

Elizabeth Knox's The Vintner's Luck similarly evokes an intimate relationship between landscape and human experience. The taste of wine becomes inseparable from the soil that produced it; earth and wine are of the same substance, united by locality and landscape.

Alexander Kluge develops a related idea in Gardens Are Like Wells, suggesting that every person possesses an "enclosed garden"—an inner space of reflection that exists regardless of one's outward life.

He writes that monasteries in medieval Europe functioned as wells in which "the clear waters of antiquity mingled with the dark waters of faith." At the heart of these monasteries lay an enclosed garden, where the finest plants and medicinal herbs were cultivated (Kluge 2011: 19).

Significantly, Kluge argues that these gardens existed outside the ordinary routines of monastic life. They were timeless places, dedicated to the Virgin Mary while remaining open to classical and alternative traditions, including Homer, Ovid, and the Gnostics. The enclosed garden therefore became a place where literature, contemplation, and spirituality could coexist. It represents an interiority capable of uniting mind and perception amid the complexity of contemporary life.

Kluge concludes that civilisation requires spaces that remain outside systems of production and utility:

"Civilisation and societies need ground that is uncultivated, gaps that are not subject to the principle of unity, something that is sufficient unto itself, which we do not consume: a sacrifice. Cities need spaces of piety." (Kluge 2011: 21)

This sentiment resonates with Richard Sennett's assertion that "we need places in which we can engage in acts of mourning." Such spaces provide opportunities for reflection, remembrance, and emotional renewal beyond the demands of everyday life.

The Development Company for Television Programmes (DCTP), in Gardens of Information, also adopts the emblem of the hortus conclusus. Here, the enclosed garden symbolises the relationship between barren landscapes and places of meaning. Their ambition is "to rescue facts from human indifference" and "to make gardens out of raw material and the bare bones of information" (Kluge 2011: 21). The garden becomes a metaphor for transforming fragmented knowledge into coherent and meaningful experience.

This understanding connects with ideas of spatial practice in the twenty-first century. Rather than forming relationships through abstract systems, institutions, or grand narratives, meaning emerges through inclusive practices rooted in particular places. The hortus conclusus can therefore be understood as a model of concentrated identity—an inquiry, a person, or a practice held within an intimate setting where thought, making, and community come together.