Along the wall. Bistrița Municipal Theater

Authors’ Comment

The proposed site is located in the city of Bistrița, at the end of the fragmented remains of the walls of the former medieval fortress, and simultaneously at the edge of the Municipal Park, an esplanade that forms part of the city’s local cultural heritage.

The memory of the ruins of the former fortress walls and the ways in which they can be approached in order to respond to the needs of the contemporary city contributed to my personal interest in the subject of this diploma project. Although they represent a testimony to the past, the city tends to conform to the former footprint of the wall. Thus, in a rather intriguing manner, the city’s cultural institutions surround the historic centre along the route of the former fortification wall. This memory of the urban fabric, which has transcended into the social realm, became the subject of this project, as it led me to propose a continuation of this route through the only cultural institution the city of Bistrița currently lacks: a theatre.

Considering this boundary around which the city’s spaces seem to organize themselves, one can identify the potential for the emergence of public and cultural functions, with buildings dedicated to education, sports, music, and visual arts. But what about the performing arts sector? At present, the only building that has officially held the title of theatre lies in a state of ruin. In 2022, Bistrița hosted the UNITER Gala, while in 2024 the addition of the subtitle “Municipal Theatre” was proposed for the existing cultural institution: Municipal Cultural Centre “George Coșbuc” / House of Culture / Palace of Culture / Municipal Theatre. Theatre performances have frequently taken place in the Synagogue or in other improvised spaces, while the rehearsals of theatre groups and ten other creative circles take place in a residential-type building. At present, there are no spaces dedicated exclusively to rehearsals, nor are there stages capable of accommodating the significant sets characteristic of theatrical productions.

Therefore, the case of Bistrița is one of spatial improvisation.

As for the architectural solution, the main entrance is accessed through the park’s esplanade. From here, visitors are guided along a gentle ramp, with sculptures created by renowned Romanian artists placed along its path, leading them towards the first basement level, where a small square dedicated to the world of the performing arts is located. The theatre’s open foyer is surrounded by a walkway lined with workshops intended for local artists who contribute to the production of stage props and costumes.

In the area parallel to the ramp, where the multitude of interior spaces can be perceived, all the functions required by a municipal theatre are arranged, including spaces serving the interaction between spectators and actors, as well as spaces dedicated to actors, theatre staff, and everyone involved in the proper functioning of the stage. The ground floor and first floor accommodate the main auditorium, with the capacity of a medium-sized theatre. Access is provided by monumental staircases, with exhibition spaces located within the intermediate foyers.

The proposal seeks to achieve a subtle integration into the overall image of the city and into the symbolism it carries. Thus, for the visitor approaching from the historic centre through the Municipal Park, the building appears as a volume that respects and integrates within the existing urban scale. The stereotomy of the façades refers to the ruins of the former fortress wall and to the surrounding natural landscape, representing the final missing piece in the chapter of cultural buildings in my hometown, Bistrița.