The owls are not what they seem. To temporary regenerate the unfinished square of Rionero in Vulture, an ephemeral architecture appears, hunting what the city has removed: a demolished cinema-theatre, a demolished washhouse, a vanished ortus and an unfinished square. Not reconstructed—summoned. Stretched parking lines re-draw a pedestrian landscape. A super-bench becomes a social condenser. A cine-theatre returns without returning. A translucent scenic machine splits space, frames the city to incorporate urban scene into the project’s spatial narrative, breathes vaporized water back into public life. Built with a reversible scaffolding system clad in translucent polycarbonate and timber elements, it acts simultaneously as boundary and interior, wall and inhabitable apparatus. The structure is conceived for rapid assembly and disassembly, yet designed to persist over time as a reusable civic infrastructure. Here architecture is event, ritual, ghost. What was erased survives as atmosphere, as use, as collective memory in motion. No nostalgia—only hauntologies to inhabit the present. At night it glows like a lantern. By day it waits like a stage. Always: the owls are not what they seem.