Atrium Garden: An Overview of the Definition and Significance

Building design
A striking architectural detail on the theme of the atrium garden
View from below of a multi-story residential building – architectural photography by michaelseh

An atrium garden is far more than just a green courtyard. It is an architectural principle that strikes a precise balance between nature and built space: inward-facing, illuminated by the sky, enclosed by walls, and yet full of life. Anyone who understands the atrium garden in all its depth realizes why this spatial concept has been rediscovered time and again from antiquity to the present day, finding a different architectural language each time without losing its essence.

  • What an atrium garden is and how it differs from related types of spaces
  • The historical roots, from the Roman atrium to modern interpretations
  • The fundamental structural and design principles that define an atrium garden
  • How light, climate, and acoustics interact in the atrium garden
  • Which plants and planting concepts are suitable for atrium gardens
  • What advantages an atrium garden offers for residential buildings, offices, and public buildings
  • What structural and building physics challenges must be considered
  • How the atrium garden should be evaluated in the context of sustainable urban development and densification

What Is an Atrium Garden? Definition, Delimitation, and Typology

The term “atrium garden” refers to a green, open-topped or covered interior space that is completely or nearly completely enclosed by building wings or walls. The atrium garden combines two concepts that have followed separate lines of development in architectural history: the atrium as an architectural space type and the garden as a place of cultivated nature. Their combination creates a space that is neither completely indoors nor completely outdoors, but rather forms its own clearly defined intermediate zone.

Precision is necessary to distinguish it from related terms. An inner courtyard (courtyard, patio, cour) is, first and foremost, a neutral open space within a building or complex of buildings, without any requirement for greenery or a specific type of use. A patio, which originates from the Spanish-Moorish architectural tradition, is most closely related to the atrium garden and is often used synonymously, although it has its own distinct cultural and formal tradition. A light well is primarily a technical concept for illuminating interior spaces and does not necessarily have to be landscaped. A sunroom, on the other hand, is typically a glass-enclosed addition to the exterior of a building, not an enclosed interior space. The atrium garden must be distinguished from all these types, even though overlaps frequently occur in practice.

Typologically, atrium gardens can be classified according to their roofing, size, and integration into the building. The open atrium garden without a roof structure is directly exposed to the weather and allows for true outdoor planting. The covered atrium garden, often featuring a glass structure, creates a controlled indoor climate and allows for the use of plants that would not be hardy outdoors. The partially covered type combines both qualities. Based on their integration, a distinction is made between central atria, which serve as the heart of a building, and lateral or peripheral atrium gardens, which are assigned to individual units.

Historical Roots: From the Roman Atrium to the Contemporary Interior

The atrium is one of the oldest defined spatial types in Western architecture. In the Roman dwelling, the domus, the atrium referred to the central reception area, which was illuminated by an opening in the roof, known as the compluvium. Beneath this was the impluvium, a shallow water basin that collected rainwater and simultaneously cooled the indoor climate through evaporation. Plants played a secondary role in this early atrium; the garden—the hortus or viridarium—was usually located behind it, in the peristyle, the garden space surrounded by colonnades. The connection between the atrium and the garden was thus already established in ancient houses, even if the two spaces were physically separate.

Over the centuries, the two concepts merged. Islamic architecture in the Mediterranean region—particularly in North Africa, Persia, and on the Iberian Peninsula—developed the landscaped courtyard into a highly refined spatial type. The Patio de los Leones in the Alhambra in Granada is perhaps the best-known example of an inner courtyard in which water, vegetation, geometry, and architecture merge into an inseparable whole. This tradition influenced Spanish colonial architecture and, indirectly, the architectural culture of Latin America, where the patio remains a vibrant spatial form to this day.

In medieval European monastic architecture, the cloister—with its central garden quadrangle, the Garden of Paradise or Hortus conclusus—fulfilled a similar function: nature as a protected, contemplative interior space. Renaissance architecture took up this tradition and developed it further into representative courtyards that brought light, air, and greenery into urban palace complexes. With industrialization and the densification of European cities in the 19th century, the inner courtyard initially lost its quality and was often reduced to a dark, cramped back alley. It was not until the reform architecture movement and later Modernism that architects rediscovered the potential of this inward-facing open space.

In the 20th century, the atrium garden underwent a systematic rediscovery. Architects such as Alvar Aalto, Louis Kahn, and later Norman Foster integrated atria as space-defining elements into office buildings, libraries, and cultural institutions. The covered atrium became a hallmark of large-scale postmodern buildings—not always featuring greenery, but with the aim of creating a high-quality interior space with the character of an outdoor space. The incorporation of greenery into the atrium—that is, the actual atrium garden—was increasingly used as a design and ecological argument.

Basic Architectural Principles: Proportion, Light, and Spatial Composition

An atrium garden functions architecturally only when its proportions are correct. The ratio of width to depth to height determines how much natural light reaches the floor, how air circulates, and what kind of spatial atmosphere is created. Narrow, deep atria in tall buildings resemble canyons and receive direct sunlight only at certain times of day; wide, shallow atria, on the other hand, can be generously lit but lose the sense of enclosure and protection that distinguishes the atrium garden from an ordinary garden. As a rough guideline, an atrium garden is considered to have sufficient light if the angle of view to the sky from the least favorable vantage point is at least thirty degrees.

The orientation of the atrium has a decisive influence on the character of the light. A south-facing atrium in the Northern Hemisphere receives intense midday sun and is suitable for sun-loving plants as well as for uses that benefit from warmth and brightness. A north-facing atrium remains cooler and shadier, which can be advantageous for certain plant species and for uses that require glare protection. Orientation is therefore not a matter of chance, but a planning decision with far-reaching consequences for planting, usability, and energy balance.

The materials used for the surrounding walls and floors significantly shape the character of the atrium garden. Light-colored, reflective surfaces enhance light distribution and make the space appear larger. Dark, absorbent materials create a more intimate, tranquil atmosphere but also retain heat. Water features—such as fountains, basins, or channels—add an acoustic and microclimatic dimension to the atrium garden: the sound of flowing water dampens outside noise, while evaporation cools the air and increases humidity, which benefits many plants.

Roofing and Climate Control

When an atrium garden is covered, an indoor climate is created that corresponds to neither the outdoor climate nor the indoor climate of a heated room. This intermediate climate, often referred to in the technical literature as a buffer zone or temperate climate zone, offers significant energy benefits: In winter, it protects adjacent rooms from heat loss; in summer, it can act as a thermal buffer, provided there are sufficient ventilation openings. Glass is the most common choice for roofing material because it offers maximum light transmission; however, it requires careful summer heat protection through shading systems, as a glazed atrium without sun protection can quickly overheat in the summer. Modern designs rely on solar control glass, exterior venetian blinds, or automatically controlled louver openings in the roof surface, which dissipate heat while keeping rainwater out.

Planting in the Atrium Garden: Selection, Design, and Care

The selection of plants for an atrium garden depends on three basic conditions: the available light, the prevailing climate, and the soil conditions. In an open, well-lit atrium, the same plants can generally grow as in a normal garden, provided the climatic conditions of the location allow it. The lack of wind in the atrium favors more sensitive species that would be exposed to the wind outdoors. In a covered or climate-controlled atrium garden, the range of options expands considerably: Mediterranean plants such as oleander, laurel, citrus trees, and bougainvillea thrive here, as do tropical species that require permanently frost-free conditions.

The planting design should enhance the spatial effect of the atrium, not detract from it. Tall, slender trees and shrubs or bamboo emphasize the verticality and draw the eye upward. Spreading groundcovers and grasses create a tranquil carpet that allows the architecture to take center stage. Climbing and trailing plants on the walls—such as ivy, climbing hydrangeas, or grapevines—connect the floor and the wall and soften the harshness of the masonry. For formal atrium gardens, geometrically trimmed hedges, boxwood, or evergreen specimen plants are suitable, as they reflect the architectural order of the space.

Watering poses a particular challenge in atrium gardens because, depending on the degree of coverage, rainwater is either unavailable or only partially available. Automatic irrigation systems with moisture sensors are virtually indispensable in covered atrium gardens. The choice of growing medium for plant beds and containers must be adapted to the reduced light levels and the often limited drainage. Waterlogging is a common problem in atrium gardens because natural water runoff is impeded by the structural enclosure. A carefully planned drainage system that reliably diverts rainwater from the open atrium while ensuring adequate drainage of the planting beds is a fundamental structural requirement for the garden’s long-term success.

Building Physics and Structural Challenges

The atrium garden places special demands on the building structure. Moisture is the central challenge: plants transpire, irrigation introduces water, and in open atria, precipitation falls directly into the interior space. The adjacent walls and floors must be constructed to be permanently moisture-resistant. Waterproofing layers, drainage mats, and suitable plasters or cladding protect the masonry from capillary moisture absorption. The transitions between planting beds and adjacent walls, as well as the junctions of floor coverings with door thresholds and the bases of walls, are particularly critical.

In covered atrium gardens, the issue of condensation adds to the challenges. The increased humidity caused by plant transpiration and watering can condense on cool glass surfaces or metal structures, leading to corrosion, mold growth, or water stains on floor coverings. Adequate ventilation of the covered atrium is therefore necessary not only for climatic reasons but also for building physics reasons. Openable panels in the roof or skylights that allow for thermal convection ventilation are a proven solution: Warm, humid air rises and escapes through the upper openings, while cooler, drier air flows in through the lower openings.

The supporting structure must bear the loads from the growing medium, irrigation systems, pathway surfaces, and, if applicable, walkable areas. Substrate loads can be significant depending on the layer thickness and degree of saturation; wet planting substrate can reach loads of well over one kilonewton per square meter. These loads must be factored into the structural design of the floor slab or ceiling on which the atrium garden is to be installed as early as the planning phase. Retrofitting green roofs onto existing structures requires a thorough structural review.

The Atrium Garden as an Ecological and Urban Planning Tool

In the context of urban densification, the atrium garden is taking on new significance. In densely built-up neighborhoods where public green spaces are scarce and outdoor areas often give way to traffic or development, the atrium garden offers a way to integrate nature into the building itself without consuming floor space. It is thus a tool of what is known as building-integrated greening, which—alongside rooftop gardens and green facades—has increasingly been incorporated into urban planning concepts.

The ecological benefits of an atrium garden are manifold. Through transpiration, plants cool the surrounding air and mitigate the urban heat island effect. They trap particulate matter and improve air quality in the immediate vicinity. Green spaces in the atrium can temporarily store rainwater and release it gradually, which relieves the strain on the sewer system during heavy rainfall events. For insects and birds, atrium gardens in the urban landscape provide stepping stones and refuges, especially when native plant species are used.

The psychological and health benefits for users of buildings with atrium gardens are well documented. Contact with nature, even in the form of a green indoor space, has been shown to reduce stress indicators and improve concentration. Office buildings with a central atrium garden are perceived as more pleasant by employees; hospitals with green courtyards report positive effects on the recovery process. These findings, which are summarized under the term “biophilic design,” have made the atrium garden a serious planning consideration in contemporary architecture—one that goes beyond mere aesthetic preferences.

Atrium Garden: A Spatial Type with Enduring Value

The atrium garden is neither a passing fad nor a nostalgic throwback. It is a spatial typology that has been continually reimagined over millennia because it responds to a fundamental human need: the need for nature within a sheltered space, for light deep within a building, and for a place that blurs the distinction between inside and outside. The fact that this need has not diminished in the densely populated cities of the 21st century explains the concept’s enduring relevance.

What distinguishes the atrium garden from other forms of greening is its spatial integrity. It is not a decorative element added to a building as an afterthought, but rather a constitutive part of the architecture. Its quality depends on architects, landscape architects, building physicists, and structural engineers thinking collaboratively from the very beginning. Proportion, light, climate, construction, and planting must be planned as a system, not as the sum of individual decisions.

Anyone who plans, designs, or uses an atrium garden is participating in a long tradition of reflecting on the relationship between people, nature, and the built environment. This tradition is alive because it does not prescribe a fixed form, but rather a principle: bringing the garden into the center of the house and thereby making the house itself a place that is more than just shelter from the outside world.

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44 residential units in Saint-Denis from DREAM

Building design

The new building with 44 residential units by DREAM. Photo: Cyrille Weiner

Two decades after the devastating fire in a dilapidated residential building on Rue Fraizier in Saint-Denis, a new construction project marks a turning point in the urban development of the north of Paris. The Parisian agency DREAM (Dimitri Roussel) has realized a residential ensemble with 44 units there – half for rent, half as subsidized ownership according to the “Bail Réel Solidaire” (BRS) model. It is the first project of its kind in Saint-Denis. However, the ambitious gesture is less about architectural showmanship and more about functional, mass-produced housing that strives for social integration.

The new building stands on a site that has been derelict since the fire in 2001. The fire at the time drastically exposed the dilapidated conditions in the old building, which was being used by shark tenants. The ensuing vacancy was perceived not only as a physical defect, but also as a social one. DREAM now sees the project as a contribution to “repairing” the neighborhood – and to re-establishing trust in the urban space.

The 44 residential units are spread across several buildings and follow a clear principle: as much individuality as possible within the standardized production. Almost all of the apartments are open-plan, with many facing in several directions. The majority have generous outdoor spaces – balconies or gardens at ground level. Interior qualities have also been considered: separate entrance areas with storage space, daylight kitchens that can be closed off if required and large window openings with panoramic views are all part of the repertoire.

The floor plan design is based on the charter of Plaine Commune, the inter-municipal association responsible for the area. The urban positioning of the buildings responds to morphological and climatic analyses of the site. A typical planning response is, for example, the staggering and orientation of the volumes to optimize daylight and natural ventilation.

In terms of design, DREAM dispenses with design experiments. Instead, the architectural expression arises from the materiality and rhythm of the façade. Wooden slats, metal panels and open balcony structures made from a combination of wood and metal structure the outer shell. Great importance was attached to prefabrication: The timber frame construction walls, including cladding, windows and shading elements, were manufactured entirely in the factory. The self-supporting balconies also arrived on site pre-assembled.

This strategy has several advantages: Firstly, it increases the quality of execution, and secondly, it reduces the construction time – a factor that plays a particular role in the densely built-up and socially sensitive Saint-Denis. All in all, the result is a residential building that relies on CO₂-reduced construction methods without playing this off visually.

What is striking about the project is the effort to establish communal zones alongside the private living space – a concept that is often referred to elsewhere as “third places”. In Saint-Denis, the elements are simple but effective: a large, inviting entrance area, green inner courtyards with passageways and roof gardens that serve as places to retreat and meet. The lobbies act as semi-public buffer zones between the street and the apartments. Visual references to the courtyard are intended to provide not only light but also social control.

The whole project was designed in collaboration with the public housing association Plaine Commune Habitat. The aim is to appeal to a heterogeneous group of residents – both people on low incomes and young families who want to build up property through the BRS model.

With a construction cost of around seven million euros and a living space of 2,775 square meters (SHAB), the project is within the scope of what is feasible in a subsidized context. The “NF Habitat” certification and compliance with the French thermal insulation regulation RT 2012 with a 20 percent reduction underline the ecological focus.

Those involved in the project include Bollinger+Grohmann (structural engineering), ENEOR (building services), Le Sommer (certification) and Topager for the landscape architecture. Cap-Exe was responsible for coordinating the various trades.

What can be deduced from the project in Saint-Denis for the current housing debate? Certainly not a new type. Rather, it shows how a combination of solid planning, serial production and municipal control can make a contribution to sustainable urban development – beyond creative exaggeration, but also without falling into banal functionality.

The architecture remains restrained but deliberate. It unfolds its effect through everyday use – as a place to live, to meet and to reappropriate a long-neglected urban space.

Read also: The Saint-Denis Pleyel Station by Kengo Kuma.

Ukraine war: Мы за мир

Building design

As a result of the war in Ukraine, the European architecture scene has quickly taken a public stand against the Russian war of aggression. G+L also stands in solidarity with the Ukrainian people and government.

BIG, David Chipperfield Architects, Foster + Partners, gmp, Herzog und de Meuron, MVRDV, OMA, Snøhetta, Zaha Hadid Architects – as a result of the war in Ukraine, which violates international law, the who’s who of the European architecture scene publicly opposed the Russian war of aggression in a very short space of time at the end of February/beginning of March 2022. Within just a few days, numerous offices expressed their solidarity with the people in Ukraine and with all those who stand for peaceful coexistence – above all via social media. In the case of Chipperfield, HdM, OMA and Zaha Hadid, the public statements were followed by an immediate halt to all construction projects in Russia. BIG also announced in a statement that the office would not be carrying out any projects in Russia or for the Russian government. However, it is not clear from this whether a construction freeze has been imposed or whether there are simply no Russian projects currently in progress.

First the governments, then the private sector. Today, our globalized world also makes it possible for corporations, companies or even planning offices to impose sanctions. So while Apple, Siemens, Starbucks, McDonalds, Coca-Cola, Pepsi and the management consultancies KPMG, PWC, EY and Deloitte are suspending their business in Russia as a result of the war of aggression, or Elon Musk is actively supporting Ukraine with the help of his satellite internet service Starlink, including reception systems, the world of architecture is also drawing its own conclusions. This is worth a special look, as it was or is precisely non-democratic regimes such as Russia or China that have provided the big star offices with unique construction projects in recent years. The M+ Hong Kong designed by HdM only opened at the end of 2021. While at the turn of the year in Moscow, the Renzo Piano Building Workshop RPBW converted the GES-2 power station into a center for visual and performing arts for the V-A-C Art Foundation.

Jacques Herzog on democratic architecture

For us in the editorial team, this immediately (and once again) triggers the question of how political planning can be, but also how political planning must be. What is exciting in this context is that Jacques Herzog in particular has repeatedly publicly addressed the question of democratic architecture. You can think what you like of him and the HdM projects, but he takes a stand. As he did in an interview in 2020 with Lukas Gruntz from architekturbasel.ch. Referring to the historic urban development of St. Petersburg, Venice, Rome and Paris, he said here: “Perhaps more beauty is created in a non-democratic context because the context is more extreme, more radical.” But he also continued: “From our point of view, an enlightened and democratic society, architecture must be anchored in the population and ideally emerge from the needs of the population.” Sentences that should make us think. Now more than ever.

Ukraine war: Coop Himmelb(l)au under pressure over Crimea project

Lighthouse projects in non-democratic regimes must be better considered in future. I wonder what is going through Wolf D. Prix’s head at Coop Himmelb(l)au right now? His office was criticized even before the war of aggression. Since 2020, the Viennese have been planning two of the four cultural buildings that Vladimir Putin wants to be built by 2023. The particularly tricky case is the planned opera house on the Crimean peninsula, which was annexed by Russian occupiers in 2014 in violation of international law(more on this in an SZ-Plus article). With reference to the lighthouse project, Ukrainian President Volodymyr Zelensky imposed economic sanctions against the Viennese architecture firm and six of its representatives on January 21, 2022.

Wolf D. Prix: Coop Himmelb(l)au is building an opera house, not barracks

According to an SZ.de article by Gerhard Matzig, who interviewed Prix on the subject, this was preceded a year and a half ago by threats from the Ukrainian embassy to Coop Himmelb(l)au. Prix would not be allowed to build the opera house in Sevastopol or the architectural firm would soon be ruined. And according to Gerhard Matzig in his article, Prix has now also been advised to distance himself from the project and Putin. When asked by Matzig whether he would do so, Wolf D. Prix sighed on the phone. Prix is of the opinion that he is not building a barracks, but an opera house. As a cultural project, this is not subject to the embargo regulations. Unsurprisingly, as of mid-March 2022, Coop Himmelb(l)au still has no statement on the Ukraine war.

Ukraine war: Russian planners make their mark

But now back to those who openly oppose the war. Because it’s not just the European star offices that are flying the flag. According to SZ.de, a total of 6,500 Russian architects, designers and urban planners also signed an open letter on the website of the Russian architecture magazine “Project Russia” between February 26 and March 4, 2022, calling for an immediate end to the war. The tragedy is that this appeal also fell victim to the “fake news” law against critical reporting on the Russian army signed by Vladimir Putin on March 4, 2022. Only a short version of the campaign with a picture of a dove of peace can now be seen on the site. It says here in Russian: “Unfortunately, we were forced to remove the text of the letter under threat of criminal liability under the law that came into force today. We are for peace!”

One profession, one passion

Meanwhile, however, the Union of Architects of Ukraine also called on the International Union of Architects to expel the Union of Architects of Russia from the organization. “Those who do not condemn Russia’s actions support them,” the Süddeutsche Zeitung quotes the President of the National Union of Architects of Ukraine, Oleksandr Chyzhevsky, as saying in a letter to the UIA. If you let this statement sink in, you have to ask yourself – even if you condemn Russia’s actions in the strongest possible terms – whether we really want to live in a world in which people from one industry, one profession, one passion, go against each other simply because of their nationality. For this very reason, the G+L editorial team would like to join our Russian colleagues: Мы за мир. We are for peace. And we condemn the Russian government’s attack on Ukraine, which violates international law, and stand in solidarity with the Ukrainian people and government.

Ukraine war: bdla and BAK also active

While German landscape architecture firms are still quite reluctant to express their solidarity, the bdla published an official solidarity statement #StandWithUkraine on March 2, 2022. The bdla declared its “deepest regret about the war in Ukraine, the loss of human lives.” It condemns this attack, which violates international law. The bdla’s thoughts are particularly with its colleagues from its partner association, the Guild of Landscape Architects of Ukraine. In the same letter, the bdla refers to the initiative of the Federal Chamber of Architects. This has set itself the goal of becoming active beyond expressions of solidarity. For this reason, the BAK is making its network available to the Ukrainian Association of Architects. The goal: sleeping places for refugees. Find out more here.