There is a place overlooking the northern lagoon of Venice, on the F.ta Nove, conceived as an act of forgiveness and redemption by the Serenissima from the plague and the War of Candia: the church of Santa Maria del Pianto. Built in 1647 to a design by Francesco Contin, the church is now unused, while the adjacent monastic complex is part of the ULSS 3 hospital complex. The dimension of the sacred belongs to the complexity of the city of Venice, which configures itself as a laboratory of solutions in constant transformation, capable of “projecting itself through time” thanks to its inexhaustible interpretability. Through critical analysis and deconstruction, the church and its urban and morphological context reveal historical and spatial traces—true paradigms of past evidence—that become material for the project’s recomposition. The thesis proposes the reuse of the church as an exhibition space for works compatible with its identity as a sacred place, through the realization of a permanent exhibition architecture composed of a suspended, movable framework that supports large-format paintings and rotates through 360° during a year. The temporal dimension becomes project material, allowing the “scenic machine” to reread the pre-existing structure through the suspended frame. Through the rhythm of the framework and its rotation, the frame translates the proportions of the interior elevations into abstract form and establishes a dialogue of “solids and voids” between architecture and painting. The proposal envisages the relocation of Anselm Kiefer’s Venetian painting cycle, temporarily exhibited at the Doge’s Palace (03/22–01/23), giving rise to a new “house of art,” where different recompositions of the modular fragments of the paintings can be periodically installed. Finally, the connection with the urban fabric is translated into an experiential path that links the F.ta Nove to the interior of the church, crossing the thresholds that define sacred architecture.