This article aims to take an in-depth look at the first Venice Architecture Biennale of 1980, entitled The Presence of the Past, from a contemporary perspective. That means from two points of view: one is broad and testifies to the moment of conflict between an exhausted modern movement and new – and varied – positions that attempt to explore several disciplinary arguments, of which the exhibition is at least a partial reflection; the other is intrinsic to the exhibition and has the Strada Novissima installation as its most faithful interpreter. Along its twenty façades, the ideas of those architects who, according to the curators, are the most representative of this particular moment in time are expressed in projects – or representation of projects – that walk the line between architecture, sculpture, scenography, and painting.
