Luckily, those who disassembled and re-assembled the houses were the villages' builders. The best villager-builders came from each village. Their number reached 130. By the end of the activity 1,046 workers had helped on the site only at the peasant house-hold rising, without counting those who built a central museum belfry hall, or the town workers who organized the alleys, the lightning system etc. These workers worked for 5,729 days, the villager-builders 3,900 days, which leads to a total of 9,629 working days, that is around 25 years and 250 days. An impressive amount of work, an exceptional organizing and a proper patronage - The Royal Cultural Foundations, King Carol II himself came several times on the site to see the stage of the workings.

Later on, in 1964, there appeared the idea of building other such reservations of traditional architecture in Romania. Abstraction could not be made of the experience gained until that moment and provided by Professor Romulus Vuia, who created, fort the first time, the reservation from the Hoia Park (Cluj-Napoca). The results obtained in Bucharest represented a great help, too. Today, there are 16 architecture reservations functioning in Romania, many with character of area representation, two of them being consecrated to representative national aspects: The "Astra" Traditional Civilization Museum in Sibiu, concerned with the traditional techniques of the various occupations and jobs and The Fruit growing and Wine Growing Museum in Golesti, from Arges County, its concern being enhanced by its name. Since the Village Museum was taken as a model not only by similar institutions from our country but also by many foreign specialists, we shall briefly mention the principles that were at the base of the Bucharest open-air exhibition organizing process.
· The historic principle - is represented by the traditional inhabiting place in its spatial development, between the 17th century and the beginning of the 20th century;
· The geographic principle - a visit to the museum offers the comparative analysis of the traditional architecture, the monuments being grouped on historical provinces (Transylvania, Banat, Oltenia, Wallachia, Dobrudja and Moldavia);
· The principle of authenticity - all the buildings are original, disassembled piece by piece, transported in special conditions and re-assembled inside the museum. The re-building of the interiors generally obeyed a synthesis view, specific to the 19th century.
The access inside the house is made through the "tinda." This median room is rarely missing from a rural house the access being thus made directly from outside. If there were no administrative orders imposed to the rural communities the peasant would build his house facing the south, so that it should receive light during the entire day and be protect from the dominant winds and precipitations, which, in Romania, come from the northern and eastern sides of the country.

A characteristic constructive element of the traditional Romanian house is the porch, a supplementary space outside the plan proper of the house but under its roof. The porch can be constructed only in front of the house or be placed on 2 -3 or on its four sides. There are three reasons that explain this supplementary space: 1. Protects the walls of the house from the immediate contact with the humidity caused by precipitations, which are richer in the hill and mountain areas; 2. Increases the inhabiting space as during summer many of the house-hold activities can take place there: the weaving loom can be placed there or it might just as well serve for sleeping place during the quiet and hot summer nights; 3. It represents a buffer space between the family and the natural environments, making the passing from one reality to the other.
The porch may be fully open, the roof being sustained by pillars, or it can be half-closed. In this case the wooden pieces from between the pillars are shaped by fretwork or sculpture. In all the case though, the decorative elements of the porch and of the front side from under the eaves, together with the volumetric disposition of the house indicate the special plasticity of the Romanian traditional architecture.

Without getting into details we add that the interior of a peasant room is structured in four parts with ample signification, according to their destination: 1. The corner with the fireplace - place by excellence of the woman and bearing a great number of beliefs because of the permanent presence of the fire; 2. The corner with the bed - place of intimacy or the place where the best textile pieces of the household are gathered; 3. The corner or the place of the table, the entire family gathering around it; 4. The corner behind the door considered being a place haunted by ghosts.

At the present moment the exhibition has 76 distinct complexes, with a total of 322 constructions (47 dwellings, household dependencies, 3 wooden churches, 3 windmills, technical installations that use the force of the water etc.) The Village Museum had a troubled history. The Elisabeth Palace began to be built in 1937 and in order to clear the place for this site, some buildings brought from Caliacra, Basarabia, an installation for preparing and preserving the fish from the Danube Delta and circa 6 wind mills from Dobrudja were removed. Nobody re-assembled them; then the change of the country's borders imposed a reducing of the exhibition area. Finally, the museum lost from its name even the adjective "Romanian" because the cultural authorities of that time considered that this word might exclude the policy of good interethnic co-habitation that was promoted by the communist state, a fact that had been there for hundreds of years in the, anyway, Romanian village.