Dropped Cone

Neumarkt Galerie, Cologne, Germany

Stainless and galvanized steels, fiber-reinforced plastic, balsa wood; painted with polyester gelcoat
39 ft. 10 in. (12.1 m) high x 19 ft. (5.8 m) diameter;
height above building: 32 ft. 10 in. (10 m)

Commissioned by Neumarkt Galerie

Installed March 2001

Dropped Cone, 2001 Dropped Cone, 2001 Proposal for a Sculpture in the Form of a Dropped Cone, for Neumarkt Galerie, Cologne, 1998

Statement by the Artists

Installation of Dropped Cone, 2001 Our commission for Cologne did not come from the city itself but from the owners of a new shopping mall on the corner of the busy Neumarkt Square -- the kind of commercial site that is unusual for us but which we found appropriate here, given the city's ancient history as a crossroads of trade. At liberty to choose the exact location for the work, we looked for an outdoor site and, because the streets of Cologne are so congested, decided to place our sculpture on the roof of the mall. So placed, it could also become part of the architecture around it.

Dropped Cone The city's skyline is filled with conical church spires, dominated by the enormous, brooding Dom Cathedral. At street level this motif is turned upside down in the form of large multicolored plastic cones that appear in front of ice cream parlors, which are very popular in Cologne. The ice cream cone as a subject was irresistible to us, especially as we detected the word "cone" concealed in the letters of the city's name.
Dropped Cone

Our proposal called for a giant ice cream cone dropped upside down on one of the top corners of the building, tilted forward, so that melting ice cream would appear to drip over the windows. In her presentation of the work, Coosje referred to the Dropped Cone as both a "cornucopia of consumerism" and a "sign of transience."

Dropped Cone The sculpture's tilt differentiated it from the surrounding church steeples, while the emphasis on the cone form separated it from the advertising variations found in the street. We applied a diamond pattern in relief, giving the cone an architectural character. The "ice cream" mass, its shape a convincing reflection of the impact of the "dropping" of the cone, resulted from lengthy experimentation with a clay model. While our presentation drawing for the sculpture had shown several colorful flavors, Coosje reduced the final choice to a single luminous vanilla.



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