The surrounding landscape is a strong constituent element of the Airborne Museum, because it carries the memory of June 6, 1944. It contributes to the didactic and memorial vocation of the museum. We wish to take advantage of it, by maintaining a permanent dialogue between the architectural project and its context, between the scenography and the site, between the exhibit and this landscape.
Beyond a simple link between the different buildings, the landscape is treated from a scenographic point of view, in that we propose that they participate in the contextualization of the collection. The site will constitute the future backdrop for the WACO glider. Like a theater stage, one could say that the landscape is the set, with the glider as the main actor on the stage of the new pavilion.
The notion of an architectural journey is inherent to the visit of any building, and a fortiori of a museum space. Visitors stroll between the massive volumes constituted by the different museographic sequences. They let themselves be guided naturally in this in-between, while letting themselves be drawn into the rooms. Some framings on the landscape constitute selected points of view on the site.
The new WACO pavilion must express the completeness of the museum, in the sense that it completes the process of deployment within the parcel. Holding the south-western corner, leaning against the parcel boundaries, it affirms the contour and stages the edge so that the interiority of the site can be expressed. It also echoes the reception building which is also on the boundary (to the north).
