Getrix Comunitate wants to change Craiova for the better, with the tools that a team of architects and urban planners have at their disposal, with the involvement that people are capable of and with the support that the administration can offer. We propose a pact for a city friendly to pedestrians, cyclists and drivers, to people with disabilities, to children and adults, to people of all kinds. So far we have held informal architectural workshops, proposed bike lanes, collected and launched ideas in public space. Our concepts entered urban planning documents or settled in the public space to stay. Getrix Community is about enabling people's engagement in the communities they are part of to transform where they live.

We didn't call it either a market or a fair, but we secretly know that the wood and canvas installation within the International Shakespeare Festival in Craiova was exactly that. We passed on to the authors, but in fact this project took shape with the interventions of the set team of the Marin Sorescu National Theatre, and it became cohesive with each layer added by its users - be they artisans, actors, stage designers, musicians, spectators or mere passers-by. All we did was respond to the challenge of the festival with a simple and quick idea. Next to the large concert stage of the Park’s Hippodrome, the festival wanted a medieval-inspired space that would teleport visitors to the places and times of the playwright who gave it its name. Hence the circular precinct with perimeter boutiques, a signal tower, and the Elizabethan stage. Hence the structure of square beams made of raw wood in which the rhythmicity of the vertical elements and bracing also plays a role of decoration. Hence the references to The Globe and Tudor architecture. Shakespeare The Village had to be efficient in the use of material, human and time resources. So, beyond the aesthetic aspect, the project aimed at reducing wood losses, systematizing its processing and facilitating the handling and assembly of components. Four large, three small boutiques, three platforms, two closing pieces, and the tiering house were built from the 16 wooden elements of fixed dimensions. While the 496 pieces of wood and OSB that made up the scene were divided into 14 element categories. We have already proven our love for honesty, well, in the case of the Village, we tried not to hide its modernity. The ensemble had to shelter - against the sun, the wind, the rain, but also from the eye curious about the backstage stories. When it comes to closures, we've refused the gimmicks and didn't mind joining untreated wood with OSB, haberdashery cloth and plastic banners. The skeleton we designed only came to life when the artisans brought their own canvases, strings and hoops, when the set designers improvised multiple staircases around the stage, when the actors came out to say their lines from behind the windblown canvases, when passers-by drew their thoughts with the chalk hanging by the black plywood, when the children built a sleigh out of straw bales, when the spectators brought their chairs from home.