« drawing such writing is always a translation »(1): a museum for tintin ? to carry and keep alive an universal opus by a planetary signs system…
but this is a challenge: Tintin cannot be exposed...we can think about him, write above him, but we cannot without absurdity suspend cartoon board...because one of the cartoon feature is the participation, though by images and bubbles, to the pleasure of texts, and this pleasure cannot be exhibit. (2)
the Hergé foundation has the mission to manage the passed, work in the present and planne the future» (3) launch the challenge to museology and architecture.
From the difference between the content – the muselogic subject in 2 dimensions -, and the container – the architecture in 3, 4 dimensions, a concept for the tintin museum borns, based on the the spirit of the opus as a semantic base. In this way, Hergé's extraordinary chromatic opus, from plain color technique, without any shadow between the regular lines, such colorglass windows composes the essence of a loci serving the opus by the museology, articulated according the needs, balancing the roles of exposed/exhibitor.
the museum will promote under the houppe, « the spirit of Tintin », made of adventure, opening, endeavor, diversity, researches of the meaning and doing so joining the rigor and the ethic of the Foundation in her mission of "legal guardian" (3) of the opus by this new myth vector for the future to the sustainability.
ChristianBecK, architect, April 28, 1994
(1) Hergé, in « le musée imaginaire de tintin », casterman, bruxelles, 1980.
(2) Baudson, M. ; « le musée imaginaire de Tintin », castermann, bruxelles, 1980.
(3) Goddin, P. ; le rôle et la mission de la fondation Hergé », in « Tintin, patrimoine des imaginaires », Institut d’Etudes supérieures des arts, actes de la Journée du 7 décembre 1990, economica, Paris, 1992-
anthropomorphic and typologic researches