Ominous, some­times hidden, the vestiges of the railway still mark the reading of the site. The desire to create a route to serve the quar­ries had to adapt to the undu­la­ting land­scapes of the sub-Vosges hills and the very form of the tracing tells the history of the land­scape and the men. The journey to discover forgotten land­scapes or to take a diffe­rent view on ever­yday land­scapes is addressed to both local users and tourists. Like the old track that offered a dual func­tion (indus­trial and passenger trans­port), the route has a double voca­tion where the func­tional must rub shoulders with the imagi­nary of travel.

Rosheim tells the story of the past. Realized by intert­wined circles in corten steel, the pavi­lion has a laby­rin­thine character and play with irre­gular concave and convex inte­rior, which the visi­tors are free to roam. The train tracks are conserved in that area, benches are built, and openings are created to open or close the sculp­ture to chosen views of the surroun­ding land­scape allo­wing for viewing, seating – refle­xion and contem­pla­tion.

Leonardsau tells the story of the land. After a long green tunnel, two large corten steel plates amplify the opening effect at the end of the forest corridor to the open land­scape, embo­dying a gate and opening a perspec­tive towards Mont St-Odile, which deve­lops the idea of disco­very.

Saint Nabor tells the story of luck. Closed for years and ongoing a “rena­tu­ra­li­sa­tion” process, the quar­ries symbo­lize the recon­quest of the vege­ta­tion on a former indus­trial site. On one of the highest plat­form created by the machine, will the traveler discover the most spec­ta­cular work: a promon­tory in corten steel offe­ring a wide view on the valley of Rosheim and the plain of Alsace. From this view­point inspired by a four-leaf clover, the visitor will feel lucky to enjoy the view of such a beau­tiful terri­tory.