25.09.2026

Sound Insulation Between Neighbors in the Garden: An Overview of the Basics and Requirements

Building design

Close-up of a black-and-white textile pattern—a play on texture and contrast. Photo: yogidan2012

Anyone who owns a property with a yard doesn’t live in a vacuum. Between the patio, the lawn mower, the pool pump, and garden parties, noise situations arise that can put relationships with neighbors to the test. Sound insulation between neighbors in the yard is therefore far more than a matter of goodwill: It is a technically quantifiable, legally regulated, and design-oriented issue that affects property owners, architects, and landscape architects alike. Understanding the physical principles, regulatory requirements, and design options allows you to avoid conflicts before they arise.

What sound insulation from neighbors in the garden entails and what types of sound are involved
What physical principles govern sound propagation outdoors
What legal and regulatory requirements apply to outdoor noise and garden use
How to classify noise sources in the garden and what noise levels typically occur
Which structural and landscape design measures enable effective outdoor sound insulation
How to evaluate the effectiveness of sound barriers, earthen embankments, hedges, and vegetation
What mistakes are commonly made when planning noise control measures in the garden
How noise protection in the garden can be reconciled with design quality and comfort of use

What noise protection from neighbors in the garden entails: basic concepts and scope

Noise protection from neighbors in the garden refers to all measures designed to limit sound transmission between adjacent properties in outdoor areas. It differs fundamentally from sound insulation inside a building because sound outdoors is not transmitted through building components but through the air, allowing it to propagate in all directions. It consists almost exclusively of airborne sound—that is, pressure fluctuations in the air generated by sound sources such as lawn mowers, compressors, stereo systems, children playing, or pool pumps.

Structure-borne sound—that is, vibrations that travel through solid building components—plays a minor role in garden areas but can become quite relevant with certain sources, such as heat pumps mounted on a foundation connected to the building structure. In this case, the structural sound decoupling of the system from the subsoil is a separate task that must be distinguished from airborne sound insulation in outdoor areas. For most situations in private gardens, however, limiting the propagation of airborne sound is the primary concern.

It is important to distinguish conceptually between sound insulation and sound absorption. Sound insulation describes the ability of a building component to reduce sound transmission from one side to the other. Sound absorption, on the other hand, refers to the conversion of sound energy into heat within a material, which shortens the reverberation time in a room or area. In the garden, both mechanisms are effective, but sound insulation provided by barriers such as walls typically has the greater impact on the noise level at the neighbor’s property. Absorbing surfaces such as vegetation or loose earthen embankments further help to reduce reflections and lower the overall sound level.

Physical Principles of Sound Propagation Outdoors

Outdoors, sound propagates as a spherical wave when the source can be considered a point source. This means that with every doubling of the distance from the sound source, the sound pressure level decreases by about six decibels. This relationship, known as the inverse square law or geometric propagation, applies to an ideal, obstacle-free space. In practice, additional factors come into play: ground reflection, atmospheric absorption, wind gradients, and temperature gradients significantly alter the actual decrease in sound level.

Ground reflection plays a particularly significant role when sources and receivers are positioned at low heights. Sound reflected from the ground can interfere with the directly transmitted sound and, depending on the phase relationship, result in amplification or cancellation. Soft, vegetated terrain absorbs some of the sound, while hard surfaces such as concrete or pavement reflect it more strongly. For sound insulation between neighbors in the garden, this means: A lawn between the source and the receiver already has a slightly dampening effect, while a paved courtyard promotes sound propagation.

Wind gradients have an often-underestimated influence. When the wind blows toward the receiver, sound is refracted downward, which reduces the attenuation and can carry the sound over obstacles. When the wind blows against the direction of propagation, the opposite effect occurs. Temperature gradients—that is, temperature differences between the air near the ground and higher layers—have a similar effect. In practice, this means that the effectiveness of sound insulation measures in the garden varies depending on weather conditions and is lower under unfavorable meteorological conditions than calculated under laboratory conditions.

Sound levels are expressed in decibels (dB), a logarithmic unit. An increase of ten decibels corresponds to a doubling of the perceived volume. Even a reduction of three decibels—which corresponds to a halving of sound intensity—is barely perceptible to the human ear. It is only when the level is reduced by about five to six decibels that most people perceive a noticeable improvement. This fact is of fundamental importance for the realistic evaluation of soundproofing measures in the garden: A measure that theoretically reduces the level by only two to three decibels is subjectively hardly perceived as an improvement.

Legal and Regulatory Requirements: What Applies in the Garden?

Noise control regarding neighbors in the garden is covered in Germany by several sets of regulations, which apply differently depending on the source and situation. The Technical Guidelines for Noise Protection (TA Lärm) is the central instrument for assessing noise emissions from facilities and operations. It establishes emission guideline values that vary depending on the zoning designation in the development plan: In purely residential areas, guideline values of 50 decibels (A-weighted, or dB(A) for short) apply during the day and 35 dB(A) at night; in general residential areas, the values are 55 dB(A) during the day and 40 dB(A) at night. The A-weighting takes into account the frequency-dependent sensitivity of human hearing.

The TA Lärm does not apply directly to noise from private residential areas, such as lawn mowers, leaf blowers, garden parties, or children playing. In these cases, the general noise control provisions of the Federal Immission Control Act (BImSchG), in conjunction with state immission control laws, as well as the Equipment and Machinery Noise Control Ordinance (32nd BImSchV), apply. The 32nd BImSchV regulates operating hours for certain garden tools such as lawn mowers, leaf blowers, and hedge trimmers and prescribes quiet hours, which generally apply on weekdays between 1:00 p.m. and 3:00 p.m. and between 8:00 p.m. and 7:00 a.m. Sundays and holidays are generally designated entirely as quiet hours.

Technical systems such as heat pumps, air conditioners, or pool pumps, on the other hand, fall under the Technical Guidelines on Noise (TA Lärm) if they are operated as systems requiring a permit or as systems not requiring a permit. For heat pumps in the garden, compliance with the TA Lärm immission guideline values must be demonstrated at the nearest location requiring protection, which is generally the neighboring building. This compliance is demonstrated either through measurement or through calculation in accordance with DIN ISO 9613-2, which describes a method for calculating sound propagation outdoors. The standard takes into account geometric propagation, ground effects, atmospheric attenuation, and the shielding effect of obstacles.

Neighborhood law and civil law supplement public immission control law. The German Civil Code (BGB) requires property owners to refrain from causing significant noise disturbances, to the extent that this is reasonable. What constitutes a “significant” disturbance is assessed by courts on a case-by-case basis, with the guideline values of the TA Lärm frequently used as a reference, even if they are not formally directly applicable. It is therefore advisable for planners and property owners to use the requirements of the TA Lärm as a benchmark, even for private gardens.

Typical Noise Sources in the Garden and Their Sound Levels

In order to plan effective noise control measures for neighboring properties in the garden, the relevant noise sources and their typical emission levels must be known. Lawn mowers are among the loudest hand-held garden tools and, depending on their design and engine type, generate sound power levels between 90 and 100 decibels. Leaf blowers fall within a similar range, while hedge trimmers are slightly quieter. These tools are used for limited periods of time and are therefore a nuisance to neighbors but generally do not cause long-term disturbance.

Sources of continuous operation are more critical from a noise control perspective. Depending on the model and operating conditions, an air-to-water heat pump generates sound power levels between 50 and 65 decibels. Since it runs for many hours a day—and even at night—in heating mode, its contribution to noise levels on neighboring properties is significant despite the comparatively low emission level. Pool pumps, filtration systems, and outdoor air conditioning units exhibit similar characteristics. For these sources, careful planning of the installation location and, if necessary, acoustic shielding are essential.

Social activities such as garden parties, children’s play, or sports generate sound levels that depend heavily on the number of people, the type of activity, and the time of day. Speech and music on a patio can reach levels of 70 to 80 dB(A) at a distance of one meter. On the neighboring property—which, depending on the layout of the buildings, may be ten to twenty meters away—sound levels of 50 to 65 dB(A) are still to be expected under the Distance Law, which is perceived as significantly disruptive on a quiet night. For these uses, structural measures alone are rarely sufficient; they must be supplemented by time restrictions and mutual consideration.

Noise Control Measures in the Garden: Walls, Earthen Embankments, Hedges, and Plantings

The most effective structural measure for sound insulation from neighbors in the garden is a sound barrier or noise barrier. Its effectiveness depends on three factors: the height of the barrier, the distance from the sound source, and the distance to the listener. The closer the wall is to the sound source, the greater its shielding effect, because the angle of diffraction over the top of the wall becomes smaller. A wall located directly next to the source can achieve a sound level reduction of ten to fifteen decibels if it is sufficiently tall. If the same wall is positioned midway between the source and the receiver, its effectiveness decreases significantly.

The wall’s material is less critical for sound insulation than many assume, as long as it has a sufficient mass per unit area. A solid concrete wall, a brick wall, or a gabion wall filled with soil—each with a mass per unit area of more than about 20 kilograms per square meter—are practically equivalent for outdoor sound shielding. The sound insulation properties of the material itself are generally not the limiting factor; sound reaches the receiver mainly by diffraction over the top edge of the wall, not by passing through it. Therefore, height is the decisive factor, not wall thickness.

Compared to walls, earthen embankments offer the advantage that they can be planted, which makes it easier to integrate them into the landscape. In terms of sound insulation, they are similarly effective to walls at the same height but require significantly more space. An earthen embankment with a crest height of two meters requires a base width of six to eight meters at a typical slope ratio of 1:1.5. For properties with limited space, earthen embankments are therefore often not a practical solution. Combinations of an earthen embankment with a wall or gabion elements built on top can offer a good compromise between space requirements, effectiveness, and aesthetic quality.

Hedges and landscaping are often overestimated in the context of sound insulation in the garden. A dense hedge of evergreen shrubs can reduce the sound level by two to four decibels, which is barely perceptible to the human ear. This limited effect stems from the fact that while plants absorb and scatter sound, they do not provide significant sound shielding because they do not form a closed, massive surface. Planting is therefore useful as a supplementary measure, not as a substitute for structural barriers. It improves sound absorption behind a wall, reduces reflections, and contributes to a more pleasant subjective experience because it also provides visual screening.

Special Considerations for Heat Pumps and Technical Systems

Heat pumps and similar outdoor technical systems require particularly careful planning of sound insulation because they operate continuously and emit sound even at night. The installation location should be chosen to maximize the distance to the nearest location requiring protection—that is, a neighboring building or terrace. At the same time, the system should not be installed in a corner between two building walls, as reflections there can increase the sound level.

Soundproof enclosures for heat pumps are commercially available and can reduce noise emissions by five to ten decibels. It is important to ensure there are sufficient air intake and exhaust vents so that the system’s operation is not impaired. Structural noise isolation—achieved by mounting the unit on vibration-damping pads—prevents the transmission of operational vibrations to the foundation and, consequently, into the building structure. This measure is particularly important when the system is located close to a building wall or mounted on a foundation connected to the building.

Planning Errors and Misconceptions Regarding Sound Insulation in the Garden

One of the most common mistakes when planning soundproofing measures in the garden is underestimating the required wall height. A privacy wall 1.80 meters high, which is sufficient for visual screening, offers only limited acoustic protection against a ground-level sound source such as a heat pump or a lawn mower, because sound waves bend over the top of the wall. In typical garden situations, a wall height of at least two to three meters is required to achieve a noticeable reduction in sound level of five to eight decibels, depending on the distances between the source, the wall, and the receiver.

Another common misconception is the assumption that a sound barrier wall provides all-around protection. A wall only shields sound in the direction it faces. Sound that passes by the side of the wall or diffracts over it is not attenuated. For a source that emits sound in multiple directions, L-shaped or U-shaped arrangements of sound-absorbing elements are therefore more effective than a single straight wall. For heat pumps that emit sound primarily from the air intake and exhaust sides, targeted shielding of these two sides can already result in a significant improvement.

Reflections are often overlooked in the planning stage. A soundproof wall with a hard, reflective surface on the side facing away from the neighbor can reflect sound back into one’s own yard or in other directions. Sound-absorbing cladding on the source side of the wall—for example, made of mineral fiber materials or special noise-reduction panels with an absorbent surface—reduces this effect. Such sound-absorbing noise barriers are standard in public roadways; in private gardens, however, they are rarely used, even though they improve the overall effectiveness of the measure.

Finally, the importance of ensuring the wall is gap-free is often underestimated. Even small openings in a noise barrier—such as joints between panels, gaps at the base, or openings for passageways—can significantly reduce the sound insulation effect. An opening that accounts for just one percent of the wall’s surface area limits the achievable sound insulation to about twenty decibels, regardless of how well the rest of the wall insulates. For an effective sound barrier in the garden, therefore, care must be taken to ensure that the connections to the ground, buildings, and adjacent elements are carefully executed.

Soundproofing in the Garden as a Design Challenge

Soundproofing against neighbors in the garden does not have to be a design compromise. Well-planned soundproofing measures can simultaneously provide privacy, wind protection, and spatial division within the garden. Gabion walls filled with natural stone or recycled materials blend into many garden designs and can be planted or covered with greenery. Wooden walls made of larch or Douglas fir combine acoustic effectiveness with a warm, natural aesthetic. Concrete walls can be aesthetically enhanced by texturing the surface or by adding cladding elements made of wood, Corten steel, or plant trellises.

The combination of an earthen embankment, vegetation, and a mounted screening element is a proven strategy that combines ecological, aesthetic, and acoustic goals. The earthen embankment provides part of the screening height, the vegetation ensures sound absorption and visual integration, and the mounted element delivers the acoustically effective screening. This combination requires more space than a solid wall but, when sufficient space is available, offers a more sustainable and aesthetically pleasing solution.

For architects and landscape planners, soundproofing in the garden is a task that should be integrated early in the planning process. The placement of technical equipment, the orientation of patios and recreational areas, and the arrangement of screening elements can be optimized during the planning phase with minimal effort. Retroactive corrections are more expensive, less effective, and often aesthetically unsatisfactory. Early verification of compliance with noise exposure guidelines—such as those specified in DIN ISO 9613-2—provides planners and building owners with certainty and prevents future conflicts with neighbors or authorities.

Sound Insulation for Neighbors in the Garden: What Really Matters

Sound insulation from neighbors in the garden is a topic that combines basic knowledge of physics, familiarity with standards, and planning expertise. Those who understand how sound propagates outdoors, what noise levels typical garden sources generate, and which measures are actually effective can avoid conflicts while designing a garden that is both functional and aesthetically pleasing. The most important insight here is that outdoor soundproofing is primarily a matter of geometry: the height, spacing, and absence of gaps in sound-blocking elements are the decisive parameters—not the material alone.

Legally, property owners navigate a complex web of federal, state, and neighborhood laws, which impose different requirements depending on the source and situation. For technical systems such as heat pumps and air conditioning units, the guideline values of the TA Lärm (Technical Instructions on Noise) apply, which must be verified by a noise prediction study in cases of doubt. For social activities and garden equipment, operating hour regulations and the general duty to show consideration apply. Both levels complement each other and require property owners and planners to engage with the issue in an informed manner.

Noise control measures in the garden are not an end in themselves nor a purely technical problem. They are part of a culture of good neighborly relations, which can be supported—but not replaced—by structural precautions. Those who plan early, implement the right measures in the right places, and realistically assess the limits of what is structurally feasible lay the foundation for harmonious coexistence between neighboring properties without having to sacrifice the use and design of their own garden.

09.10.2025

Design, Translated: Branchennews

Searching for Clues on Slate Islands

Building design

The poetry collection "Schiefern" by Esther Kinsky explores the analogy between human memory and metamorphic rock. Photo: Suhrkamp — The poetry collection "Schiefern"

Esther Kinsky’s poetry collection *Schiefern* explores the analogy between human memory and metamorphic rock—a sensory quest for the inanimate.

Esther Kinsky’s poetry collection *Schiefern* explores the analogy between human memory and metamorphic rock. Photo: Suhrkamp

The poetry collection “Schiefern”

On the map, they appear as small specks off the west coast of Scotland—so small that it’s easy to overlook them. You have to seek them out specifically to find them. You don’t just stumble upon them. Scotland’s Inner Hebrides, an archipelago at the northernmost tip of the United Kingdom, are a popular travel destination. Those who come here yearn for the unspoiled, the wild, the rugged. For the salty wind that tangles itself in your hair and clothes, making them stiff. For the Atlantic, whose waves crash against the black rock. Gneiss. Granite. Basalt. Slate.

Esther Kinsky, a translator and poet who was awarded the “Hain. Geländeroman” in the fiction category, has dedicated a collection of poems with the simple yet evocative title “Schiefern” to slate and to the region where this sedimentary rock was quarried for centuries.

The quarries on the Slate Islands are still there, as are the remnants of an industry that has since been shut down. Kinsky embarks on a journey of discovery and captures her observations of nature in words that are enigmatic to decipher and sweep the reader away into the remoteness of the Inner Hebrides, to the black, roaring sea, above which the reader drifts, like an invisible figure floating in the space of thought that Kinsky weaves with her words.

It is precisely there, in this space of the imagination, that the analogies between something thoroughly lifeless and the human can be found. Few people appear in this three-part volume, yet it is by no means lacking in humanity. It is, in fact, quite astonishing how sensually one can write about waves carrying spray and “rocks with a / surface like petrified, gentle ripples” without slipping into kitschy romanticism.

“Nature Writing”

Since the 18th century, nature has inspired writers to make it the central protagonist of their works. In the English-speaking world, “Nature Writing” refers to the expansive literary descriptions of trees, meadows, flowers, and downpours. In German, the terms “Naturpoesie” (nature poetry) or “Naturlyrik” (nature verse) have become established. Esther Kinsky has stood out in literature for years with this kind of nature poetry.

In 2013, in *Naturschutzgebiet* (Nature Reserve), she wove together four cycles of poems about decay and growth, taking a neglected city park as her starting point. If one were to classify Kinsky’s work as “Nature Writing,” she would be quick to disagree. In an interview with Deutschlandfunk, she once said that she did not see herself as part of the tradition of nature writing. The term is too vague, she said, and too broad in what it encompasses and what it does not. “Nature writing” can be anything, she says. Why not her latest work, *Schiefern*, one might counter?

The Layers of Time

Early on in *Schiefern*, the word “memory” appears—“as a space of absences, moved by the transparent hand of unpredictable synapses and incalculable shifts of deposits in the slowly formed and deepened furrows and folds of the brain.” Kinsky is concerned with the layers of time that accumulate over memories. First very gently, then more clearly, she draws linguistic parallels between human memory and the history preserved on the surface of boulders, over which the tides and the passage of time have swept for millions of years.

The past lies preserved in the STEIN; it need only be read from its folds, as if the STEIN were an old, beloved elder whose weathered face bears the traces of life. Kinsky writes of “signs without hand or foot / in STEIN that no one / can make sense of / except as the greatest possible past.”

“Schiefern” could be the modern sequel to Adalbert Stifter’s 1853 collection of stories “Bunte Steine” and join the ranks of “Granit,” “Kalkstein,” and “Turmalin.” But as deceptively idyllic as Stifter’s detailed, Biedermeier-style depictions of nature are, Kinsky’s descriptions of the Slate Islands are anything but charming and cozy. The chill of the surroundings seeps through her words. There is a harshness in them that one would not want to imagine away.

Information about the book

Esther Kinsky: Schiefern.
Price: 24.00 euros
Austria: 24.70 euros
CH: 34.50 Swiss francs
Published: March 23, 2020
Hardcover, 103 pages
ISBN: 978-3-518-42921-1

30.10.2024

Project

Rakotzbrücke freshly restored

Building design

One of Lusatia’s most famous landmarks has been freshly renovated. The spectacular bridge structure is a highlight in the Azalea and Rhododendron Park in the east of Saxony.

One of Lusatia’s most famous landmarks has been freshly renovated. After years of renovation, the Rakotzbrücke is shining again. The spectacular bridge structure is an important highlight in the large azalea and rhododendron park in the east of Saxony.

The small village of Kromlauhas just over 300 inhabitants . Nevertheless, it can be seen in many photos. To be more precise, it is not the village that is the subject of the photos. Rather, it is the spectacular Rakotzbrücke bridge that fascinates. It is located in the middle of the large azalea and rhododendron park. The striking arch of this stone bridge is breathtaking. Today more than ever. After years of restoration, the bridge is once again visible.

Kromlau is a district of Gablenz in the district of Görlitz. Hardly anyone would know the village if it wasn’t home to the largest rhododendron park in Germany. It attracts many plant lovers. But many are also drawn there because it is home to the famous Rakotzbrücke bridge. The Kromlau Azalea and Rhododendron Park covers around 200 hectares. This large landscape park is the largest rhododendron park in Germany. Visitors do not have to pay admission. The Rakotzbrücke bridge and other stone sculptures are also accessible at all times.

Did you know? The park and flower festival has been held in the Kromlau Azalea and Rhododenron Park since 1965. Well over 30,000 visitors come to the annual festival, which takes place at Whitsun. By comparison, only just over 300 people live in Kromlau itself.

The beginnings at Gut Kromlau

A contemporary of the famous Hermann Ludwig Heinrich Prince von Pückler-Muskau acquired the Kromlau estate in 1842. Shortly afterwards, he began planting the first native and exotic trees and shrubs. He was also known as the little Pückler. As such, he spared no expense. He had ponds created on almost 800 acres and hills heaped up, which he crowned with oak trees. Rare trees and shrubs, mythological and rococo statues and basalt grottoes were created. The famous arch of the Rakotz Bridge is also one of them. It is made of boulders and basalt stone. The lord of the manor had this material brought in from various quarries in Saxon Switzerland and Bohemia. Ox carts mastered the transportation.

New owners, new activities

Friedrich Herrmann Rötschke exchanged the Kromlau estate with its Rakotzbrücke bridge for other building plots some 30 years after acquiring it. In the years that followed, ownership changed hands several times. It was not until 1889 that peace returned. Count von und zu Egloffstein-Arklitten acquired the site. He commissioned the horticultural inspector Georg Eichler to maintain the grounds. He added rhododendrons and azaleas to the existing trees and shrubs. Planted on a large scale, they contributed to the harmonious appearance of the park. The garden designer also planted certain flower varieties for sale. These generated welcome additional income. These in turn benefited the further development of the park. After the Second World War, the landscape park with the famous Rakotzbrücke bridge became public property. It was not until the mid-1960s that it received renewed attention. The park was once again maintained and reconstructed. The Rakotzbrücke bridge remained a special attraction.

You can see more impressions of the bridge in this video.

The Rakotz Bridge

Alongside Kromlau Castle, the Rakotz Bridge is one of the most important structures in the park. Its stone arch is unusually round. When its semicircle is reflected in the lake, a perfect circle appears in the water. Built from basalt and fieldstone, the bridge spans the Rakotzsee lake below over a length of 35 meters. Although numerous hiking trails cross the park, the bridge may no longer be entered.

Did you know? Only when the water level in the Rakotzsee is right does the reflection on the surface of the water complete the Rakotzbrücke into a perfect full circle. To prevent the water from gradually seeping into the ground, the lake bed was sealed with bentonite sealing sheets during the bridge renovation.

Rakotz Bridge equals Devil’s Bridge

The roots of the village of Kromlau lie in the Sorbian language. It is therefore not surprising that the name of the bridge is of Sorbian origin. Rakotz means crab in the Sorbian language. This is why the Rakotz Bridge is also known as the Devil’s Bridge. People used to believe that only the horned Beelzebub could build such a filigree bridge arch. Today, the bridge attracts photographers from all over the world. The photos usually also include the sculpture behind the bridge, the organ. The Rakotzbrücke’s reflective round arch made its biggest appearance in the fairytale film “The Sorcerer’s Apprentice”.

Renovation of the Rakotzbrücke

The municipality of Gablenz is now the owner of the landscape park. In 2018, it was awarded funding from various federal, state of Saxony and EU programs. Since then, a lot has changed at the Rakotzbrücke bridge and in the rhododendron park. Various types of construction work have been carried out. In addition to the renovation of the Rakotzbrücke bridge, a group of basalt columns and the grotto between the Rakotzbrücke bridge and the flight of steps, which collapsed in 1956, were also renovated. The repairs have now been completed. The construction fence has been removed and the associated lake has also been filled with water again. The scaffolding around the Rakotzbrücke bridge was removed in November 2020. After the bridge was renovated, the lake was sealed. Because only a constant water level can bring out the mirror effect perfectly.

Did you know? The renovation of the Rakotzbrücke bridge initially went according to plan, but had to be interrupted due to an unexpected visitor. Two protected bat species, the greater mouse-eared bat and the pug bat, were hibernating in their hiding places on the bridge, which is why the renovation was suspended for a few months so as not to disturb the animals.

In addition to the famous Rakotzbrücke bridge, other sculptures have been given a new lease of life. The Richterstuhl stone group and the historic bridge on the island pond in the west of the park have also been renovated. Although it was not possible to hold a park festival in early summer 2021 due to the coronavirus, many visitors came to the reopening of the park. The entire park was upgraded over a total of four years. This includes 8.5 kilometers of park paths. Forgotten paths around the island pond were also rebuilt. A fountain ensures that the pond is filled with water again. The new Asian Bridge is now reflected here. New plants have also been planted. The main parking lot at the entrance to Kromlau has been given an information point with public toilets. This important cultural site has now been secured for the coming decades.

Fancy another bridge? Let us show you one of the longest pedestrian suspension bridges in the world – the “Arouca 516” in the Arouca Geopark.