Bernard Tschumi's interpretive centre for the battle of Alesia, 52 BC, where Julius Caesar's army surrounded Vercingetorix's Gauls: the site, in Burgundy, has this building referencing Roman wood fortifications, and will eventually have a second stone building up a hill, referencing the besieged Gauls.
The battle was actually a long freeze: Caesar's troops circled the base of the plateau with 18km of 4m high fortifications, blockading the garrison of 80,000 soldiers at the top. Vercassivellaunus, Vercingetorix's cousin attacked the Roman fortifications with 60,000 men, but Caesar's forces held the line. Aside from the delight in typing the wonderful names of the Gauls, it occurs to me that these were very large armies, in modern terms the size of the Canadian Forces in total.
Caesar's eventual victory marked the end of Celtic power in what is now the territory from France and Belgium to northern Italy.
The exterior screen of Tschumi's Alesia museum is wood, the shape and pattern bring to mind the Greek key meander tiara of Alice of Battenburg: there is something both victorious and celebratory about this circlet sitting on the Burgundian plains. Its pattern puts the screen into motion, it dazzles.
From their fortress the Gauls could see the Roman encirclement, which would have been nothing as solid as this single-point museum, thus the museum roof has been turfed as a displaced ground plane to indicate the original view from the Gallic heights.
The roof planted with trees and shrubs is also a reminder of helmets with leaves and branches stuck into a netted cover as camouflage: a military strategy as old as war and still in use.