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The "museums" of Alsace and Guilan: perspectives on two inaugurations
The opening of Rural Heritage Museum in Saravane in the province of Guilan (Iran) in 2006 seems distant echoes of the Museum of Alsace in 1984. Perspectives focus here on two heritages, two adventures, two passions to maintain, understand and convey what can still be.
Figure 1: houses rebuilt in the museum of Guilan carry the same report to the poetic nature, that I print the design of the Museum d'Alsace (this photograph Hossein Khaef such as the inauguration of the museum )
After several visits in 2003, 2004 and 2005, I did not, in the year 2006, the possibility of traveling to Iran to attend the rapid progress of the Rural Heritage Museum of Guilan in Saravane. Mahmoud Taleghani to me films and photographs of the official inauguration which took place in May this year under the International Museum Day. Of these images, I found point by point, face by face, the inauguration of the Museum of Alsace 22 years earlier. The feverish preparations, the latest blows to rake in the aisles, placement of flags, the arrival of guests, the long litany of speeches, and after all this currently grace the festival where all official involved in the project, workers and craftsmen and their families, first visitors share the wonder of moving from project to a reality for all. And with each one, which buried its own history, its daily that worker or peasant which he previously believed assume the cumbersome daily without recognition.
We will pass on this page a few glances on two holidays identical to 22 years of interval, in countries and in a story so distant and different.
Figure 2: the Central Committee of Rural Heritage Museum of Guilan ... to the Museum of Alsace in front of Muespach ( "house of tastes and colors") and the Museum of Guilan, in front of the house Roudbaneh
Before that, back in Guilan, we left after dismantling Roudbaneh to the first house for the future open-air museum. From the official launch of the project in June 2003, we know that the land will likely be Saravane, near Rasht, on the road to Tehran. There exists a pool of public lands, mountain, covered by a forest, and is intended for leisure activities. This forest is dying in a small valley inhabited at the bottom of rice, already outside of the reserve land but it is tempting to integrate the project. The steep site is problematic because a large number of houses from the lowland delta Sefid Rud, Anzali lagoon. It was beautiful s'escrimer to find in these mountains flat terrain, nothing suitable for the reconstruction of homes plain and their ecosystem of rice paddies. In the restaurant, I scribbles-one against proposal to save the homes of the plain at the highest site on the ridge, so they look at the territory for which they are extracted, and continues to live without them. This proposal is a bit brutal, and too conceptual, for a museum that as a first step must previously to demonstrate its relevance as a conservatory of traditional forms of housing and agriculture. The drivers are beside us while I draw on the water, they do not understand the discussion held in French, but seize the issue from my gribouillages and begin their side to discuss the same subject. I do not recall having experienced such a scene in Alsace where all social backgrounds together, a serious discussion on parties museum can not take place. This is also how the project meets Iranian expectations deepest people, as the opening of the Museum of Alsace was something deeply in tune with the aspirations of his time.
Figure 3: various aspects of the site of Saravane, which has implemented the draft Rural Heritage Museum of Guilan
My proposal at least has the merit of revealing the inadequacy of the proposed ground with the promoters of the museum. During the summer of 2004, during the dismantling of the house of Roudbaneh, Mahmoud Taleghani me involved with my family to visit the new land, in a less rugged area surrounding the site first. These are clay hills, with a thick forest undergrowth.
Figure 2: the Central Committee of Rural Heritage Museum of Guilan ... to the Museum of Alsace in front of Muespach ( "house of tastes and colors") and the Museum of Guilan, in front of the house Roudbaneh
Before that, back in Guilan, we left after dismantling Roudbaneh to the first house for the future open-air museum. From the official launch of the project in June 2003, we know that the land will likely be Saravane, near Rasht, on the road to Tehran. There exists a pool of public lands, mountain, covered by a forest, and is intended for leisure activities. This forest is dying in a small valley inhabited at the bottom of rice, already outside of the reserve land but it is tempting to integrate the project. The steep site is problematic because a large number of houses from the lowland delta Sefid Rud, Anzali lagoon. It was beautiful s'escrimer to find in these mountains flat terrain, nothing suitable for the reconstruction of homes plain and their ecosystem of rice paddies. In the restaurant, I scribbles-one against proposal to save the homes of the plain at the highest site on the ridge, so they look at the territory for which they are extracted, and continues to live without them. This proposal is a bit brutal, and too conceptual, for a museum that as a first step must previously to demonstrate its relevance as a conservatory of traditional forms of housing and agriculture. The drivers are beside us while I draw on the water, they do not understand the discussion held in French, but seize the issue from my gribouillages and begin their side to discuss the same subject. I do not recall having experienced such a scene in Alsace where all social backgrounds together, a serious discussion on parties museum can not take place. This is also how the project meets Iranian expectations deepest people, as the opening of the Museum of Alsace was something deeply in tune with the aspirations of his time.
Figure 3: various aspects of the site of Saravane, which has implemented the draft RMy proposal at least has the merit of revealing the inadequacy of the proposed ground with the promoters of the museum. During the summer of 2004, during the dismantling of the house of Roudbaneh, Mahmoud Taleghani me involved with my family to visit the new land, in a less rugged area surrounding the site first. These are clay hills, with a thick forest undergrowth.
Figure 4: In summer 2004, visit family in Iran. Pressentons us that we are going to be ejected from the Museum of Alsace? In any case any hope of resettlement in this house of Saravane, burned since my last visit to the site, is lost. But of course, the archaeologist welcomes this opportunity to study how to include a mud house during a fire, and archaeological traces what is likely to include in the ground.
The construction of a road embankment has trained and identified the gravity flow of rainwater, abundant in Guilan. Also, some areas are submerged and trees die. The similarity with some aspects of the Field Museum of Alsace is amazing. And he also shared with the Museum of Alsace not bear any trace of habitat and agricultural activities. Everything is to imagine and create.
A few months later, in April 2005, new mission. This time it participates, at the initiative of Christian Bromberger, Edwin Huwyller, scientific director of the museum outdoor Ballenberg in Switzerland, the big brother of the Museum of Alsace which historical figure, Max Gschwend, is closely linked to "Properties peasant d'Alsace.
Roadside, a small platform supports two huts site, announced by a panel on which the Museum of Alsace figure prominently on the list of partners. The beams of the house of Roudbaneh are unloaded at hand, and a stock of wood substitutes. After disassembly of the house the previous summer where I found exactly the same atmosphere in the Sundgau heat of summer, even facial expressions neighbors curious smells of old destroyed house made of soot, dust d ' clay and straw-I again a breath of excitement before the beginning of an adventure. "You are a man filled" told me the president of the University of Rasht, "you're twice in your life actor in the creation of a large museum." In the thickets, a narrow trail down to a flat along the creek. Here in an area full of green, workers digging by hand pit mining land, a deep red. Others carry this land to the wheelbarrow up an area where we begin to realize the elevated platform in clay, on which the plots will be laid foundations of the house of Roudbaneh. Oust Mansouri is still there. Meanwhile, he became a personality. We will seek governmental Lahijan car, where he lives. Along the road, when it passes and we recognize, people say "Master voila passing Mansouri, who works with foreign experts." Just touching and things return to the old carpenter knowledge and useless so long despised.
During this stay, things go bad. New common, decidedly, with the Museum of Alsace, although the ground occupied with the authorization of the regional authority, is inconstructible. It is subject to the forest and can not be cut any tree. Only difference with the Museum of Alsace, is that here at least there are trees. The engineers of the forestry administration come several times, the words are sincere, the administration is determined. The smaller cut is the subject of tough negotiations, and one wonders if the project does not finish as quickly as it began. Admiring, I see Christian Bromberger mollify engineers. He knows the trees Guilan by heart and knows all their scientific name in Latin dialect that their names and their uses. Officials are truly stunning, they are not dealing with a gang of butchers. The problems are not resolved on the merits, but the pressure is relentless.
The land is the subject of recognition. There are still no precise topographic map and it felt the need to explore, identify them in sizes sometimes intractable, and start asking zoning. In Alsace, our homes were resulting from a physical environment and even cultural relatively homogeneous. I was therefore able to adopt, as I explained elsewhere, the party of "don" of groups of buildings even from a ring. For Guilan, territories very contrasting from the high mountains to the lagoon bordering the Caspian, Christian Bromberger had identified 13 groups of territorial unity, cultural and environmental. Therefore needed a mass-type Ballenberg islands with each dedicated to one of these entities, and separated from each other.
Figure 5: while a part of the public becomes aware of a film about the Swiss museum of rural settlements to submitted Ballenberg by its scientific director Edwin Huwyler (standing left) Pouya Miryousefi working to put in net leading mass MuThe time to return to France approach the concerns of the Museum of Alsace prevent me to extend the stay when things get exciting. The platform's house Roudbaneh is now complete, well rammed. Throughout the dismantling, I felt the anguish of my infancy. Disassemble it's easy (?), But back ... Mostly organic constructions like these, of course, made without a plan or level or square or plumb, at the eye and roughly hewn on the spot, assembled large Reinforcement hold a dry stone masonry. For this reason I was particularly demanding on detailed statements. A discharge we had no certainty about the ability of carpenters to respect the house as a museum. The visit of a recent achievement Rascht, where a house had been rising as the Office of Tourism, was likely to justify major concern.
I could not understand properly the problem of plots of foundations, these stacks of trunks caught in the crossfire ondoyants levels, that of the platform and that of girders that could be described as "sand". Height of variables, each adapted to its own situation, these ten plots (two rows of five plots) were not perfectly aligned lengthwise, they were in front the curvature of the sand. And rear, lack of wood long enough, the sand was in two parts: the plots were willing to allow their fitting.
Figure 6: the foundations of the house Roudbaneh, as reconstructed in the museum of Guilan
At the beginning of our work to rebuild houses of peasant Sundgau, we were facing a similar problem, our beams sand base is curved and irregular. But an old jack 2 CV was sufficient to adjust the height of sand bass during the laying of the high sand, it necessarily regular and perfectly horizontal once in place.
The last day of my stay, it was decided to implement the plots. You can not play at all with their implementation, relying on settings or even small movements, since these plots are placed on a foundation of their own. Once the platform achieved, rammed well, being dug to a depth of 80 cm pits as well as rectangular plots. These tanks will be filled with alternating layers of highly compressed earth and ash and charcoal, to avoid the rising humidity. The use of such materials is not foreign to me either. The conservation of solivages floors ground floor houses the Sundgau, sunk into the ground (when there was no basement) was remarkable and incomprehensible in this region also very wet. Later, when we installâmes coal camp in Alsace museum, I realized that this land was cooked and Ashen, covering the mill timber for cooking.
Figure 7: the creation of the platform's house Roubaneh and implementation of plots foundations
Oust Mansuri, on its own initiative, cut small pieces of branches, plant it with discretion on the platform to mark the angles of locations where digging trenches. In general excitement, it goes almost unnoticed. I am, thanks to accurate records made before disassembly to locate each location of the foundation and centimeter mark with lime. At that time, I realize that at no time sticks Ust Mansouri not bothered me in my location. Discreetly, the old master had removed. I will then search the fingerprints of these stakes. A little close, they correspond to the plot "scientific". The master for whom I have always had great respect and great admiration was well-saved documents and disruptions alignment of these plots. I was impressed, even if there were no witches here. For these craftsmen, construction is an indivisible whole, the apprehension and retention characteristics of each major component of building whatever its location, determines everything upstream of the implementation of these organs of one body . Neither the tools available, or way of thinking, nor the relatively precarious buildings may leave room for a procedure that distinguishes the concepts of plan and elevation. The imagination of the building is three-dimensional immediately. This could only arouse my admiration to me that I worked on constructions made by combinations of horizontal and vertical planes separate, which requires the standardization of information which only allows the mediation of the blueprint: therefore the inevitable passage representation in plan, albeit it at 1.
One can imagine my frustration at having to leave the site at that time.
Figure 8: in Alsace, the interim plan is essential for the size of structures; to where we installed in 1980 the first floor of purity, I imagined in 2002 that vertical composition; sculptures in bronze Claude are Gebhardt.
Figure 9: Four Stages of the house of Roudbaneh less than two years apart: the state in situ, the beginning of the dismantling, an advanced stage of reconstruction and finally completed the house as it stands today the museum.
Figure 10 shows another example of house saved in extremis and already back in museum
Iranian these interludes, I returned to the Museum of Alsace more convinced than ever of the function of our kind of museum in a public interrogation about what she feels lost or soon lose its place in the world, and how our family of museums restoring meaning to local cultures. Because, to paraphrase Theodore Monod, most of these cultures have in common with each other, maintain the men belonging to a cosmic. Oust Mansouri, in its total and immediate vision of the work built, was implemented universal not only by the breathtaking beauty of the book, but by demonstrating the possibility of an internal report to nature. Internal report expressed Guilan still in people's behavior, we have seen during the clearing of great brutality with trees, seedlings and is perhaps familiarity and connivance in the hardness of the life of all humans, animals, plants, where we see the aggression in front of a nature that has become foreign to our own nature. All these questions were central to my concerns about the function of the museum that I created in Alsace: developments explaining that my hosts of Iranian society, my observations, made me share an acceleration of this story that the company my country had two centuries to absorb and integrate. I found Guilan in many situations of agriculture, state-of-mind for the little that can judge the neophyte that I am, translation of this in-between in urban planning and construction, which I was confronted Sundgau in the 1970s. Time is nonetheless Guilan contracted so that the social demand museum is emerging as a part of ancient structures still in place.
The approach was not one way. In November and December 2004, we accueillîmes the Museum d'Alsace a team of four trainees of the future Heritage Museum rural Guilan, with funding from the Heritage Branch of the Ministry of Culture and Ethnology Center headed Mediterranean by Christian Bromberger. The volunteers of the association, the visitors were affected not only by the charm of these hosts gentle and delicate, but also felt immense pride that their little corner of the world is a reference to representatives of a large countries, so different shots.
Figure 11 interns, from left to right Mojgan Khakpour and Mojgan Khakban, Pouya Miryousefi and Houra Sami'i interviewed by Anne Muller, conduct cooking demonstrations of Guilan in the house of tastes and colors of the museum d ' Alsace.
Figure 12: Freddy with Ohrel and Jean-Luc Wendling and Didier Crassous, trainees exerted on the forge and especially strapping wheels.
The interest of our guests to the steps of the museum, and the gaps between its representation and cultural realities and social "real" life of our region, was very stimulating. The interpreter Houra Sami'i was on the knees because the concepts were thoroughly discussed. Iranian team worked very hard, not only to discover the different aspects of the design and the life of an outdoor museum, but also to produce an exhibition on the project Guilan. This beautiful exhibition was first presented in the house of Hegenheim, then come the summer we have installed in the rotunda of the international festival of the house.
Figure 13: The board improvised story of a film with the means at hand to Roudbaneh, film, which will be mounted at the Museum and presented in the museum exhibition on the rural heritage of Guilan.
Images of the inauguration of the Rural Heritage Museum of Guilan in May 2006 could only awaken memories of the inauguration of the Museum of Alsace in June 1984 when we were watching these images Iranian family, we come to turn the page of the Museum of Alsace. It was a wink of fate, which reminded us that ideas-the-ideals are not only free but never die. The work of museum that I made in Alsace, now destroyed by my conception of substance and form such a museum, reborn elsewhere, with other project sponsors, in another time, there will be in Museum Guilan a little of what we have passion and professionalism in our project, and I am very proud that we have this common passion with our Iranian friends while we were in the worst difficulties; d Others would have said "what good", my colleagues and I have held that belief outweigh the circumstances.
At this point in parallel between the two museums to 22 years and 5,000 miles away, I return to my notes written in 1992 on the inauguration of the Museum of Alsace in 1984. I also told how the house came alunas in September 1980 on the moor Ungersheim sorry, and how a test of strength in many respects comparable to the first museum of Guilan was concluded by the lifting of administrative difficulties and securing funding through the first President of the General Council of Upper Rhine, Henri Goetschy.
Attached to state aid for job creation, the first grant permit to hire our first permanent, from volunteering. Paolo Canonico and François Wurth, said Frantz Paulo and formed the nucleus of a stable variable geometry, reform the tribal microcosm in force at Gommersdorf few years ago, but working conditions are even worse. There was absolutely nothing on the ground that allows life, and he took on the appearance of Sibérie when the North wind blew it without meeting any resistance. Whiskers and hair were taken our standing in the ice must have experienced to be believed. But at least when it froze, things were a hard and clean. Gare thaw and rain. The land is turned into quagmire, cranes, cars and trucks moving up to the hilt and Agronomy: a small vehicle stuck, we sought a larger désembourber for s'enlisait which in turn and so on ... the delivery of materials, such as concrete tops, we vouaient to hell when they do not simply refused to come. The cold we numbness, security conditions were still limits and assembly of the first major structures involved in moments of intense fear, especially when we had a young look quite below a collapse of beams. He was unconscious, only fear. We do not Valionis much better, especially when the police came to see the accident.
The pace of work has not stopped a single day of July 1980 until the inauguration four years later.
In November 1981, we had already risen four buildings where Senate President Alain Poher allowed us to live our first official visit, beginning of a long series. The arrival of bikers and cars on black jolting potholes roads Ungersheim was surreal, as well as the visit of this wasteland planted a few frames.
Figure 14: the first buildings in the push thickets, a kandouj (rice granary) to Saravane (2005) and the dovecote at the Museum d'Alsace (1981)
At the same time, we had become undesirable in the house that we previously occupied as offices in the Grand'rue in Mulhouse, which was acquired by the city that nurtured other ambitions for the neighborhood. After a short baroud honor of resistance, and have suffered a dozen burglaries, we folded on Ungersheim our modest hotel and our documentation already impressive. Thereafter, the ground began to be inhabited, occupied by a micro society ignoring differences between intellectuals and textbooks, and learning to organize far from everything.
These years were probably the most peaceful and most rewarding you can imagine, despite spartan lifestyle and pay only symbolic, when there were. There were a lot of work, but we could do it thoroughly, without limits. I had employees of great value, committed to the project. The oldest permanent, Thierry Fischer, was the first permanent association, took office in 1980. He had a huge architectural culture, a talented designer unparalleled and a sense that criticism was sharp advance ideas. Two others had dropped the mooring lines to secure jobs and well paid: Véronique Wurth, which went up from sensational insertion sites, and Christian Fuchs who was both rigorous project manager and end-to-train, companion of all fighting. I had the premonition that my own role in the project would change radically in the near future, but the administrative and financial organization was still very heavy. I had it easy to switch from one task to another interesting advice to individuals for the restoration of their homes, documentary research for the project or publishing plans and records, physical work on site as I wanted and I do not deprive with Guy Macchi every Saturday and Sunday. We get the benefit of obscure work done in previous years: most of the projects had been thought previously, the stock of houses and materials was important. As we did not have operating and exploitation, even relatively modest grants us enough detail to build and display excellent returns compared to the sums invested.
The problem was that this state of grace could not last indefinitely, the site had meaning only in relation to the museum opened to the public. In 1982, we did not know yet clear whether this moment would come in three, five or ten years. In 1983, the public had already abundant every Sunday although he had never been to host it. Holding an open day in June 1983 showed us that the museum was almost interesting ... because we began to talk about museum whereas before we learn by circumlocutions.
The Ministry of Culture and the Alsace region decided to intervene financially, which doubled in a single blow the budget. Also in the summer of 1983, we decide to open to the public for the following spring. To be safe to deliver the public a first really significant, and that the site is accessible to vehicles equipped with public toilets, etc. restaurant. We have taken out a loan from the Caisse des Depots et Consignations, with guaranteed General Council, which allowed quadruple the budget ... But once went up a gear without economic turn back the clock.
The museum, called a few months earlier "Museum of Haute-Alsace", opens to the public on May 31 1984. We are ready. For six months, a countdown was displayed daily on a large sign at the heart of the site: we had no other choice than to move all the buildings at most. The lessons of DIY debut Gommersdorf had borne fruit: since the beginning of the work, the site was given clean, and when a building was completed, its accompanying plant and floral followed immediately in the wake. The few bushes and trees that existed on the ground had been carefully preserved, strengthened by new trees, each of which was a bet on the future given the saline soil pollution. Everyone helped out. For my part, I planted the first nettles of the site, around the bread oven of the house of Muespach. For his part, Henri Goetschy requisitioning prefect of the gardener during the holidays this year. When is the prefect said this first vacations and large, chairman of the recent decentralization, it does not need a gardener to deliver to the cuisine of fresh beans ...
As a result, all delivered in public, even unfinished, and without patina, revealing quite often modern materials sometimes implemented, was a surprise, both natural and very conceptual, some houses appear to put on raked gravel as objects. What they were, in fact.
A visitor's guide, a guide brochure handed to entry, a press kit had been produced on time. Attention to comfort the visitor was present, with public toilets, a restaurant, so many small miracles when we remember the lives of Indians that we at the site a few months earlier still.
The first holder of the ticket opening this morning was a resident of Wittelsheim, who came in bicycle he used to walk there since childhood, he was also delighted and baffled by which we propulsion confidential to this site a celebrity still uncertain. But with the support of the press, particularly of the newspaper L'Alsace, which had heavily announced the opening of the museum, the flow of visitors began to fall. They were under the charm and delight, each focused on its guide reading the reviews for each building. As for us, we were literally dead-drunk crowd. For four years, we surveyed the field only teacher I had with him a sensual, because each of its square centimeters was a touch I knew bare foot or hand, odor, texture, humidity different. Within a few minutes we had become not foreigners, not attacked either, but dispossessed in a sense almost carnal. In haste he had to improvise fences separating the private areas and service areas open to the public. We had not expected this week and we were needed to regain a foothold and we create our new habitat.
Three weeks later came the official opening.
It had resulted from months of feverish preparations for its objective importance, and because of the irrational who chaired a highly political event. In those days, there was still a left and right. With Gilbert Estève, Sélestat mayor and then chief of staff Jack Lang, the Minister of Culture had agreed to inaugurate the museum. The tension between the Socialist government and centrist majority of the General Council was real, somewhat exacerbated by the fact that the General Council rightly claimed the legitimacy and exclusive authorship of the museum because of the age and the balance of credits. In addition, I was suspected of being the wrong side, seen from the "majority Alsatian." A particularly subversive film came from the remains to be devoted to the museum by a television channel: it narrative construction of the museum, seen by a young participant in the yard course wrote to his fiancée. This romantic drama was over with a driver, who was shown a red rose at regular intervals on the screen. The director probably did not see malice, and had left his lead by about poetic without parallel with the rose au poing of the Socialist Party in power since 1981. The impact was tumultuous, a timely few days before the arrival of the Minister. It saw further evidence that the names Ecomuseo-how bizarre and Paris-was a nest of socialists, and the president was deeply Goetschy harassed. It was all the more painful none of us was militant, or even inserted in any party it was.
The wording of the invitation to the inauguration ceremony, setting the protocol it was a strange adventure where, already stressed by the completion of work and organization of the museum for the public, I had in addition to the courier between the office of the Prefect and the President of the General Council, to negotiate the change of place commas heavy political consequences.
But the time came for the party, during which everyone played the game beautifully, good heart and sincerity with which not only wrong: it was nice and crazy good. A few hours before the inauguration, the president Goetschy told me that he intended to bring some of his colleagues in Alsatian costume. I feared the worst. I swallowed my meager salary a month to buy a suit and tie me to blend into the scenery, and now the President of the General Council changed the scene at the last minute. It reminded me a little later to ask me, anyway, if I thought it was a good idea. It was not completely sure, it seemed. I told him that I did not think it was a very good idea ... what I earned me enguirlander, is further evidence that the president was not sure of his shot.
We must admit that the councilors, each in the costume of its soil, was a superb host committee. We did not want to cut the ribbon, because it implied that personality was the first to wield the scissors, also would have been necessarily a tricolor ribbon, and it does not fit with the atmosphere of decentralization. The concept of "republican correct" did not exist. The president Goetschy had a clever idea: the entrance was equipped with three wooden barriers to counterbalance, so that the Mayor Fricker, president and the Minister Goetschy Lang could pave the way simultaneously on the same line , Each raising its barrier ...
After that assistance and we felt the minister chatouillé by a slight breeze-doubt heard the blessing of the parish priest and pastor's speech. Being a Saturday, we were able to find Rabbi accepting officer ...
Figure 15 guests to watch in the air ... the inauguration of the Museum of Guilan in 2006, show traditional tightrope walkers
For its part, too, the museum team had strong. We wanted to express the meaning of the museum, by spinning in the sky of Alsace-timbered house full, suspended from a helicopter. This house which nobody wanted to be symbolically laid at the museum, after several days of wandering. The arrival of a full house by air has been achieved, there were problems with air corridor military and indeed in the last line, we had to think about. But the house was ready to transport a threshold block. Thanks to sponsoring companies Médialev Gross and we were able to make use the road. It was a house Bartenheim daily, but big enough on one floor. It was dismantled-the site where it was too cashed so that the crane can access and remove a piece and immediately lift on the trailer truck which was taking him to Ungersheim. It remained to resolve the passage under bridges road or rail.
Figure 16: home Bartenheim ready to take the road to the Museum d'Alsace (1984)
Figure 17: acrobatics of the house of Bartenheim at the inauguration of the Museum d'Alsace (1984)
Also peak pinions they were articulated on hinges, so that it can be turned in before the barriers and lift as it passed. It was completely insane, but spectacular. Arrived at the museum, the subject was raised was about twenty meters tall or more, suspended until the arrival of officials who attended jellyfish its landing on the foundation provided, with absolute accuracy.
Figure 18: Mahmoud Taleghani the inauguration of the Museum of Guilan in 2006, and me 22 years ago at the inauguration of the Museum of Alsace
The speeches were, we felt rather sincere, and it may be interesting to return to their contents to understand how this unusual museum could arise between the cracks institutional complicity with the representatives of the authorities themselves.
The common Ungersheim had organized the buffet, in the form of fires on which everyone was invited to roast slices of bacon. The minister did not want to leave. All officials crying as smoke, while ungersheimois valet service attended captivated an important football match in front of their portable télévisions put in the coffers open 2CV.
This festival was of course the glory days of our team, which was hard earned this recognition. This was also the beginning of a state of grace, during which criticism and vilification came to an end because the public came very quickly and many enthusiastic. We had the impression that the project had managed to meet the expectations of a population, policies on all sides and passionate filmmakers in the place and time where everyone agrees on the need such a museum. That is exactly what comes out of the first month of opening young museum Guilan, wish him all the development known as the Museum of Alsace, and a long life, Inch 'Allah!
Marc Grodwohl
(1992-2007)
(1) were the homes and Koetzingue Hésingue 1, the garden pavilion of Ribeauvillé, the loft of Oberhergheim
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ARTICLES PARENTS:
• The landscape at the museum, work practices
• A living museum of agriculture (1986-2006)
• Company and fun fair, museum experience
• A St Joseph syncretic ...
• The "wild man" in all its statements
• The long career Kasperl, puppet heroic
• Montreux-Jeune (s), fidelity to the origins
• Reumaux thank you to Bernard and 'Saisons d'Alsace!
• Two Hungarian movement of organic architecture
• The clearing of Vitruvius
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