On Saturday, June 14, 2025, on the occasion of the 40th anniversary of the signing of the Schengen Agreement, the new Schengen Museum in Luxembourg and the renewed Prinzessin Marie-Astrid Europa Boat — the symbolic site where the historic Treaty was signed in 1985 — were officially inaugurated in the presence of TRH the Grand Duke and the Grand Duchess. Also attending the inauguration were HI&RH Archduchess Marie-Astrid of Austria, the Grand Duke’s elder sister, and her husband HI&RH Archduke Christian of Austria, Luxembourg’s President of the Chamber of Deputies, Claude Wiseler, Luxembourg’s Deputy Prime Minister, Minister for Foreign Affairs and Foreign Trade, Xavier Bettel, Luxembourg’s Minister of the Economy, SME, Energy and Tourism, Lex Delles, the Mayor of Schengen, Michel Gloden, the Director of the Schengen Museum, Martina Kneip, and numerous national and international dignitaries.
The permanent exhibition and multimedia design, curated by Migliore+Servetto Studio in collaboration with Karmachina, takes visitors on an immersive journey through the evolution of the concept of "borders" across the world, with a particular focus on the Schengen Agreement and its impact on the relationships between people and nations — not only within Europe, but on a global scale.
“This project gave us the unique opportunity to work on two unconventional exhibition spaces—deeply different yet strongly interconnected: a permanent museum and a travelling boat. By putting the two spaces into dialogue, we have developed a contemporary museum conceived as an open, permeable, and narrative organism—capable of simultaneously activating memory, emotion, and knowledge”, says Ico Migliore. “Schengen is not just a place—it represents a concept of civilisation. Forty years after the signing of the Agreement, being able to help tell its story is a source of great pride for us.”
The Museum
The project for the Museum by Migliore+Servetto and Karmachina, which follows the restoration of the existing structure by Forma Architects, starts from the theme “Borders” and reinterprets the Museum space as a “borderless” place, not only in spatial terms, with no architectural barriers, but also at the multimedia and narrative level. The goal is to create an inclusive museum that is capable of accommodating different types of audiences; one that is accessible, with different but complementary levels of reading and content sharing; one that is innovative, because it works on a multisensory level to activate cognitive memory. The new Schengen Museum will guide visitors as they rediscover one of Europe's foundational moments, involving them and accompanying them in an immersive experience that passes through the past and the present and looks towards the future.
"We envisioned the museum as a fluid and dynamic space—an experiential journey culminating in the Cube: an immersive and symbolic element that represents the overcoming of borders in all their forms. The Cube is the beating heart of the project, uniting testimonies, languages, cultures, and stories, and drawing visitors into a participatory and deeply engaging dimension", says Mara Servetto.
The museum develops as a route structured in stages, between the physical and the digital. It is an engaging journey to experience diversity, possible intersections and integration in an intuitive, interactive and playful manner, which also alternates moments of exploration and reflection. There are 19 installations in a linear progression of texts and objects related to the themes of the four main sections, each with different content, form and multimedia. A circular path flows, culminating in the central core, the “Cube”, the narrative heart that encloses an immersive and engaging installation at the end of the exhibition.
In this multimodal exhibition concept, the Cube constitutes the core of the set-up: it is a memorable and dynamic identity-forming sign, which represents the creative concept of “borderlessness” between countries and the multitude of people who are part of them, where the flag pattern that defines the skin of the cube symbolises the values of union and cooperation. The space expands and develops thanks to a system of mirrors and dynamic lights that produces the effect of a pulsating organism, transforming the Cube into an infinite tower that transcends physical and conceptual boundaries. Inside, an evocative installation recounts the personal adventures of people from inside and outside the Schengen area, testimonies that introduce an emotional catharsis as the final epilogue of the exhibition's narrative experience.
"The Cube’s installation shows how technology can serve the purpose of museum storytelling. In this environment, as in the rest of the museum, the visitor is at the center of an exciting and meaningful narrative," adds Paolo Ranieri of Karmachina. "Our focus was on visitor engagement, as they are the true protagonists of the exhibition journey. Through the layering of content, the public can freely interact with the multimedia installations—exploring the evolution of borders via an interactive timeline, stepping into the shoes of a student eager to enter the Schengen Area, and leaving their own contribution at the end of the visit."
To make the experience within the Museum even more personalized and engaging, visitors receive a card at the entrance that allows them to move freely through the space and activate the various digital stations, also selecting their preferred language (German, French, or English). Additionally, the experience for children and young visitors is guided by a specially designed booklet, developed with a playful approach to ensure the space is accessible and enjoyable for younger audiences. The booklet is divided into two parts, tailored to different age groups (6+ and 10+). On one hand, it guides them through selected installations; on the other, it enriches the museum's content by telling a story related to the themes of borders and freedom of movement. Illustrated by Michele Tranquillini, the booklet is based on a concept by Migliore+Servetto—who also curated its graphic design— developed in collaboration with Karmachina, with texts provided by the museum’s curators, Historical Consulting.
Finally, the new Schengen Museum will also house a completely renovated reception area that will serve both as a Tourist Information Centre and as an introduction to the exhibition space, with a check-in section.
The Boat
The design by Migliore+Servetto and Karmachina also includes the redevelopment and refitting of the Prinzessin Marie-Astrid Europa boat, the site of the signing of the Schengen Treaty. The boat and its historical structure, which were worn out by use and the passage of time, serve as the background for the story told, maintaining the original structure of the boat but at the same time creating a continuous dialogue with the new layout of the Museum. The finishes and materials in the upper deck room, as well as the curtains and lamps, recall the atmosphere and aesthetics of the time, integrated with contemporary installations and furnishings. For the lower deck of the boat, a flexible and multifunctional system has been designed that is capable of assuming different spatial configurations that can respond to different needs.
The Boat will then be completely renovated and will also host new functions, such as a conference space, a temporary exhibition area and a lounge, as well as a new dynamic installation that tells the story of the signing of the Schengen Agreement. The “Signature Room” will allow visitors to travel back in time, transporting them to the same space that welcomed the representatives of the first signatory countries of the Agreement in 1985. The boat will then become a large traveling stage machine for hosting flexible narrative scenarios, welcoming visitors to a surprising and dynamic environment.
“The boat moored on the Moselle is not just a historical backdrop, but becomes a narrative machine capable of moving, of crossing territories and cultures, embodying the very spirit of the Schengen Agreement: a Europe without barriers, in constant dialogue,” conclude Ico Migliore and Mara Servetto.
