RÉON is a continuous surface bending and curving into itself; its endless winding promotes an absolute movement. As turbulent entities in transition, inhabitants live in a constellation of Magnets - the roots of the permanent city - and form temporary configurations in which flexible architectures are turned into ephemeral events, soon vanishing into some others. In the City of Réon, there is no time but only Timing.

καιρός • (kairós) - from Ancient Greek:
a propitious moment for decision or action, proper or right time, opportunity.

Réon

From Ancient Greek ῥέων
Present active participle of ῥέω:

- to flow
- to propagate
- to vanish

Revolution (n.)

From Late Latin “revolutio -onis” revolt, return.

Derived from “revolvere” turn, revolve, twist, rotate.

re-

a prefix, occurring originally in loanwords from Latin, used with the meaning “again” or “again and again” to indicate repetition.

volutus

from volvere (Lat.)

to roll, to turn something.

The discovery of the properly melodic landscape and the properly rhythmic character marks the moment of art when it ceases to be silent painting on a signboard. This may not be art’s last word, but art went that route, as did bird: motifs and counterpoints that form an autodevelopment, in other words, a style. The interiorization of the melodic and sonorous landscape finds its exemplary form in Liszt and that of the rhythmic character in Wagner.

CHANGE

___________

RELATIVITY

___________

MOVEMENT

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PROXIMITY

As cities change and evolve constantly according to their contexts and circumstances and patterns of urban growth can be unpredictable, so a kinetic city can be understood as a city of perception. (…)
A kinetic city is not perceived in architectural terms, but rather in terms of space and occupancy patterns.

If there is to be a new urbanism it will not be based on the twin fantasies of order and omnipotence; it will be the staging of uncertainty; it will no longer be concerned with the arrangement of more or less permanent objects, but with the irrigation of territories with potential; it will no longer be obsessed with the city but with the manipulation of infrastructure for endless intensifications and diversifications, shortcuts and redistributions — the reinvention of psychological space.

It's hard for a westerner to comprehend this indonesian City Making. But it's a good exercise. It makes you wonder what cities are actually made of. Here they are made up of huge collective bodies that move and concentrate. And depending on the time of the day assume a different position on the ground.

It also happens that, if you move along Marozia's compact walls, when you least expect it, you see a crack open and a different city appear. Then, an instant later, it has already vanished. Perhaps everything lies in knowing what words to speak, what actions to perform, and in what order and rhythm; or else someone's gaze, answer, gesture is enough; it is enough for someone to do something for the sheer pleasure of doing it, and for his pleasure to become the pleasure of others: at that moment, all spaces change, all heights, distances; the city is transfigured, becomes crystalline, transparent as a dragonfly.