The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The Garden Gallery of Sou Fujimoto can be viewed as the Sculpture Park’s new trademark. In any case the architectural structure, in its size and proportion, sets a new criterion for the park including the works of sculpture found in it. From inside the structure, new sight lines open up and views of the park from its windows appear like framed landscapes, while, on the other hand, the visitor is lured into its enclosure by the tree and Rheinwein, the relief sculpture by Hubert Kiecol. The ground has been left in its natural unpaved state and in this way retains the tension between inside and outside space. In its relationship to the park, the Garden Gallery represents an architectural counterpart to the Foundation’s building; Sou Fujimoto’s work creates a balance between the two dominating buildings on the grounds. This is Sou Fujimoto’s first architectural structure in Europe. Sou Fujimoto has also designed the Serpentine Gallery Pavilion 2013 in Kensington Gardens/London.

The work Rheinwein was created for the interior wall of the Garden Gallery by Fujimoto and, with its black frame elements, represents a graphic contrast to the architecture, whose window motifs it also quotes. The recognizability of the motif is intended to establish a connection between the Garden Gallery and the park and create a relationship across the dimensions of the park.

The work Rheinwein was created for the interior wall of the Garden Gallery by Fujimoto and, with its black frame elements, represents a graphic contrast to the architecture, whose window motifs it also quotes. The recognizability of the motif is intended to establish a connection between the Garden Gallery and the park and create a relationship across the dimensions of the park.

The work Rheinwein was created for the interior wall of the Garden Gallery by Fujimoto and, with its black frame elements, represents a graphic contrast to the architecture, whose window motifs it also quotes. The recognizability of the motif is intended to establish a connection between the Garden Gallery and the park and create a relationship across the dimensions of the park.

Mandla Reuter has planted a tree in the park and given the work the title The Park. What seems like a tautology is, at a closer look, a depiction that inquires into the origin of the park, whether it or this tree was there first, a tree the visitors encounter in the middle of their path. The plane tree introduces this question à-la-Magritte that queries our perception of reality.

Mandla Reuter has planted a tree in the park and given the work the title The Park. What seems like a tautology is, at a closer look, a depiction that inquires into the origin of the park, whether it or this tree was there first, a tree the visitors encounter in the middle of their path. The plane tree introduces this question à-la-Magritte that queries our perception of reality.

Mandla Reuter has planted a tree in the park and given the work the title The Park. What seems like a tautology is, at a closer look, a depiction that inquires into the origin of the park, whether it or this tree was there first, a tree the visitors encounter in the middle of their path. The plane tree introduces this question à-la-Magritte that queries our perception of reality.

Ulrich Rückriem can be understood as the sculptor who made the genesis and visual recapitulation of a work component of his sculpture. In this black granite piece, the artist shows all the possible technical methods of production – the splitting, cutting and sanding of the stone – whose volume parts he then fuses together to a block from within whose interior the most elementary geometric form is produced by serial partitioning. His work – represented in the Skulpturenpark Köln by another sculpture out of granite – can be seen as a matrix for conceiving of new creative ways and as a leitmotif for inviting young artists and their innovative artistic conceptions.

Ulrich Rückriem can be understood as the sculptor who made the genesis and visual recapitulation of a work component of his sculpture. In this black granite piece, the artist shows all the possible technical methods of production – the splitting, cutting and sanding of the stone – whose volume parts he then fuses together to a block from within whose interior the most elementary geometric form is produced by serial partitioning. His work – represented in the Skulpturenpark Köln by another sculpture out of granite – can be seen as a matrix for conceiving of new creative ways and as a leitmotif for inviting young artists and their innovative artistic conceptions.

The bronze sculpture Weinende Frau is at the same time a fountain that was created for this site, rather the site with its brickwork was created for this relief. On a small knoll in a sheltered corner of the park, the visitor is confronted with the motif of a very private situation: weeping. We can think of this fountain figure — out of whose mouth water also streams — as a water dispenser and her abstract physiognomy as the theme of the cardinal humour of melancholy that the visitor encounters on his walk through the park.

The bronze sculpture Weinende Frau is at the same time a fountain that was created for this site, rather the site with its brickwork was created for this relief. On a small knoll in a sheltered corner of the park, the visitor is confronted with the motif of a very private situation: weeping. We can think of this fountain figure — out of whose mouth water also streams — as a water dispenser and her abstract physiognomy as the theme of the cardinal humour of melancholy that the visitor encounters on his walk through the park.

The bronze sculpture Weinende Frau is at the same time a fountain that was created for this site, rather the site with its brickwork was created for this relief. On a small knoll in a sheltered corner of the park, the visitor is confronted with the motif of a very private situation: weeping. We can think of this fountain figure — out of whose mouth water also streams — as a water dispenser and her abstract physiognomy as the theme of the cardinal humour of melancholy that the visitor encounters on his walk through the park.

The bronze sculpture Weinende Frau is at the same time a fountain that was created for this site, rather the site with its brickwork was created for this relief. On a small knoll in a sheltered corner of the park, the visitor is confronted with the motif of a very private situation: weeping. We can think of this fountain figure — out of whose mouth water also streams — as a water dispenser and her abstract physiognomy as the theme of the cardinal humour of melancholy that the visitor encounters on his walk through the park.

The bronze sculpture Weinende Frau is at the same time a fountain that was created for this site, rather the site with its brickwork was created for this relief. On a small knoll in a sheltered corner of the park, the visitor is confronted with the motif of a very private situation: weeping. We can think of this fountain figure — out of whose mouth water also streams — as a water dispenser and her abstract physiognomy as the theme of the cardinal humour of melancholy that the visitor encounters on his walk through the park.

Bernard Voïta has created a secret place in the park, already expressed in the title Green Memories. The sculpture itself does not tell of these memories; it is only highly charged with those from the artist’s mental world. The work is a miniature replica of a public pissoir as it exists in Paris. In its location near the boundary line to the busy traffic of the Riehler Strasse outside of the park, the ambivalence of an intimate place in the context of the romantic park grounds provides a contrast to public city space.

Bernard Voïta has created a secret place in the park, already expressed in the title Green Memories. The sculpture itself does not tell of these memories; it is only highly charged with those from the artist’s mental world. The work is a miniature replica of a public pissoir as it exists in Paris. In its location near the boundary line to the busy traffic of the Riehler Strasse outside of the park, the ambivalence of an intimate place in the context of the romantic park grounds provides a contrast to public city space.