The installation proposal mimics a well-known form of ‘an aqueduct’, ruined (probably) long-ago and sitting quietly in the context of the surrounding nature. It connects visually with the park, the river, the fragments of the city above the trees over river Tiber. Everyone is welcomed to step it, sit, read, reflect, think or just have a rest inside this created contemporary heritage object. Only the shape remain somehow about the primary matter but it does not try to recreate it literally. The materials used are fragile, natural and short-lasted. They create only a temporary structure, visually vivid, which is to live within a small time frame in the city, often recalled and well-known worldwide simply as ‘eternal’. Eternal for our own personal time frame and slowly fading out, de-evolution across time in a longer time frame. And this temporary structure creates temporary time-shelter for the people inside it. The different shadows between the structural grid, the wind passing through, the sound of the city over the river, the silhouettes of the people passing nearby behind the textile – all these fragments create the feeling that this structure is not still but in a permanent movement within the time. Every ‘room’ of the ruin is a different perspective towards the moment and the city, every moment of the day/night has its own sensations, various sunlight or atmospheric conditions mean new perceptions. The heritage is no more the physical appearance of the ruin, but it’s existence in the time and memory – it become an intangible heritage, which often is even more linked to the context and needs more deeper understanding of its existence. A wooden exoskeleton, wrapped up in a semi-transparent textile re-creates the illusion of the well-known form, which is actually an empty shell, a décor as often used in Citecitta’ to create a vision, a copy of a past moment and bring it to the present one, and later on to be dismantled and disappear without a physical trace. The cotton canopy and the wooden elements are used also in order to stress more about the sustainability aspect and the possible re-use of the materials after the installation is removed and recycled. So it will continue existing only through moment pictures, sketches, talks and in the collective memory of the visitors and the society. The physical present will become once again past and the past will be present only as non-material present. The entire installation will left no physical print on the site after being dismantled. The project tries to cross the orbits of the pristine, the ruined, the ephemeral – this human excitement about fragments of the past, which we re-create often only mentally based on our knowledge and experience and thinking about them as a ‘whole one‘, only possible, but without counting that we actually would never know if it is the right shape we ‘see’ in our mind based on the shared memory and knowledge of ours and our contemporary times. That is why the design offers simple (non-) referring form, where everyone is free to see whatever he/she wants and to interpret it rather freely of any borders and limits. At the end of the time-lapse of the installation it might be semi-destructed, with missing parts, the wood will be weathered, the textile may be torn up, but this will not make it unvaluable, rather in contrary – it would mean that the installation truly lived during this period of time. In the middle of the installation is possible to place in addition a small ‘monument’ – a fragment of a sculpture, as if ‘found’. It would be an artefact, but placed not in a closed controlled museum environment, but rather outside, with only nature on its background, in a contrary to the contemporary museography (even if we think about the industrial machines background in the Centrale Montemartini Museum, not far away from the site of the project). The sculpture could be a copy of Torso Gaddi, for example – a bust cast in simple plaster, completely not adapted for outside conditions normally. But since we are looking precisely for the temporary, always-changing and ephemeral effect, we would leave it to the natural forces, letting it to fade out and slowly disappear, and so placing the accent to its fragility and temporariness.