European Gardens as Third Spaces
In an increasingly digital and fast-paced world, physical spaces where people can gather informally are just as rare as they are needed, especially in the United States. Urban gardens across Europe offer an ideal case study for such “third spaces”—a term coined by sociologist Ray Oldenburg to describe environments that are neither home (first space) nor work (second space), but instead those that are accessible and serve as spaces of community and interaction (Roberts-Ganim 2023). In comparison to the United States, where suburbanization and privatization often limit access to organic third spaces, these natural spaces exist in abundance in European cities. Europeans seem to utilize public gardens as sites of leisurely belonging and connection. Photos documenting scenes from Luxembourg and Tuileries Gardens in Paris, and the Boboli Gardens in Florence are not merely an assessment of their beauty, but rather serve to symbolize the communal importance of such historic spaces. These photos emphasize how these iconic gardens exemplify the key qualities of third spaces and symbolically tell stories of community and democracy.
Oldenburg's theory of third places identifies certain core characteristics: “For an individual, the third place offers stress relief from the everyday demands of both home and work. It provides the feeling of inclusiveness and belonging associated with participating in a group’s social activities, without the rigidity of policy or exclusiveness of club or organization membership … For the greater community, the third place strengthens community ties through social interaction,” explains Leo Wayne Jeffres of Cleveland State University (Jeffres, et. al. 2009). These photos do not exist to document that these locations are “third spaces,” but rather that, in their essence, third spaces symbolize a cultural shift that encourages camaraderie and community amongst Europeans.
According to Stephen Edwards in Photography: A Very Short Introduction, photographs that document public life are never neutral. Even when they appear candid or observational, they’re loaded with signs—visual symbols that convey meaning depending on context. Edwards writes that photographs function as both documents and interpretations—they record what is there, but also urge viewers to decode what is implied (Edwards 2006). Terry Barrett deepens this idea by asserting that photographs are not about what is in them—they are about what they mean (Barrett 2012). In his view, semiotics—the study of signs—is essential to photographic interpretation. A successful photograph does not just describe; it invites inquiry. With these frameworks in mind, the following photographs are not just pictures of historical gardens but instead, serve as visual texts that speak symbolically, culturally, and socially.
Tuileries Garden, Paris, France, 2025
In this first photo, two couples are pictured sitting together at Tuileries Gardens in Paris, France. In the background, there are other Parisians sitting, walking, and standing together. There are no physical boundaries between them – the chairs are moveable, the space undefined. There is a deep sense of community in this photo. The people can be anyone, the space between them malleable. Referencing Edwards and Barrett’s explanation of the symbolism of photos, one can conclude that this depiction of closeness and intimacy in such a public space transcends the photo, and serves as a larger commentary on how crucial these places – embedded into historical places, and then, in turn, into culture – really are. There is an anonymity to the subjects, which ultimately represents the communal nature of third spaces and the transient nature of their occupants.
Boboli Gardens, Florence, Italy, 2025
“To interpret an image is to make sense of it. To interpret is to see something as ‘representing something, or expressing something, or being about something, or being a response to something, or belonging in a certain tradition, or exhibiting certain formal features, etc,’” Barrett writes (Barrett 2012). In this photo taken at the Boboli Gardens in Florence, Italy, there is a clear sense of emotion and unity emphasized by the contrast of the subjects with a flower-laden field of grass. There is a freedom here – one that can be interpreted as a byproduct of the environment. How free these two carefree-seeming people are is underscored by the physical environment that seems to bring groups of individuals together, regardless of social strata or other factors.
Luxembourg Garden, Paris, France, 2025
Against the backdrop of an iconic, historic Paris building – The Luxembourg Palace – people convene in the Luxembourg Gardens, reading books, chatting, and observing. Again, there is no separation of space besides the existence of freely placed chairs, diminishing the barriers between strangers that usually exists in daily life. Conversations are overheard by adjacent visitors, extended feet are encouraged. There is an informality here that juxtaposes the norms of daily Parisian life, a signifier of this garden as a catalyst for community and unity.
Boboli Gardens, Florence, Italy, 2025
Through shaded trees, a few groups of friends or acquaintances are visible. They’re having a picnic, chatting and laughing. The camera is an onlooker into these intimate and friendly interactions. Essentially, this photo is a symbol of cultural differences and the perspective of an American in a European country, shocked by the community perpetuated by such places. Again, photographed in Florence’s Boboli Gardens, the dark shadowed area is indicative of the privatization of America and the lack of third places like this in my home country. In contrast, gaining perspective into the “light” of public gardens and spaces has illuminated a world of optimism and curiosity.
Gardens across Europe, though different in geography and design, serve remarkably similar functions as third spaces. They are flexible, inclusive, and profoundly human — something the United States would indubitably benefit from.
Works Cited
Barrett, T. (2012). Describing Photographs; Interpreting Photographs; Photographs and Contexts; Evaluating Photographs. Criticizing Photographs: An Introduction to Understanding Images, pp 15-53, 96- 139. McGraw-Hill Higher Education: London.
Edwards, Stephen (2006). Photography: A Very Short Introduction. Very Short Introductions. Oxford, UK: Oxford University Press. pp. 12-39.
Jeffres, Leo Wayne, et al. “The impact of third places on community quality of life.” Applied Research in Quality of Life, vol. 4, no. 333, 2009, pp. 1-14. Engaged Scholarship, https://engagedscholarship.csuohio.edu/cgi/viewcontent.cgi?article=1011&context=clcom_facpub.
Roberts, Madeleine. “Third Places: What Are They and Why Are They Important to American Culture? | English Language Institute.” English Language Institute, 1 November 2023, https://esl.uchicago.edu/2023/11/01/third-places-what-are-they-and-why-are-they-important-to-american-culture/. Accessed 16 April 2025.
