This church, one of the approximately fifty, which were erected in Rome at the initiative of Pope John Paul II, was dedicated to God, the Merciful Father, however it is commonly referred to as Chiesa del Giubileo, meaning Jubilee Church. It was created by a master of his profession, the American, Richard Meier, who was selected from among a number of the most outstanding architects who applied for this commission. These included such figures as Santiago Calatrava, Frank Gehry, Günter Behnisch, and Tadao Ando. It seldom happens that, a contemporary architectural structure with such high artistic ambition would be so universally praised, by architects, critics, as well as the users themselves, meaning the faithful. This was what happened in this case. If that was not enough the church in question, seems to confirm the thesis that architecture does not only embellish our surroundings but also provides them with a new dimension. This is not simply a beautiful house of God, which we come into with joy; but also its surroundings, made in the fashion of the Italian piazza provide a feeling of belonging and psychological comfort. It is possible to sit here, watch children playing football on the field neighboring the church and meet with friends. Suddenly an unattractive apartment complex gained a heart and soul and became an enclave of peace and spiritual relaxation.

Coming to this place it is hard not to feel surprised. In a jungle of tightly fitting high-rise buildings suddenly a bright white oasis appears – a church reminiscent of a boat with three wind-stretched sails, anchored on a white square. The boat is of course a Christian symbol of a Church floating upon the waves, while its concrete sails (a true work of engineering art) a guarantee of favorable winds and a fortunate earthly journey as well as one into the afterlife.

The dominant whiteness of the structure is a feature which distinguished Meier’s designs. Here concrete coated with powder from Carrara marble was used. In order for the concrete to keep its whiteness a special chemical substance was introduced into the cement which – thanks to photocatalysis – enables self-cleaning of the surface of organic contaminations thanks to the rays of the sun. However, thirteen years later it can be seen that this chemical experiment did not completely serve its function.

The principal space of the church is a great, open and high hall which is closed by an enormous sail on one side. Under the two smaller sails there are a chapel, a hall with room for confessionals and a baptismal font. Adjacent to this building in the shape of a ship is a hexagonal body designated for rooms of the parish, above which the bell tower stretches, a necessary element of all churches.

The body of the church, seen from different sides is impressive indeed and this feeling is strengthened when we enter the church. The interior is filled with dispersed light, coming in through the glass roof, different depending on the time of the day and year, while the ever-present whiteness is interrupted by light wood, placing the mystical in its rawness aura in earthly reality. This light filling the church, a symbol of divine presence, never enters it directly, besides the day of the summer solstice – 21 June. Then its ray comes through the small window found in the altar part, illuminating the cross standing there, which casts a deep shadow onto the floor. Light is of particular significance in this building. Not only symbolic but also functional. What cannot be seen by the naked eye is the use in parts of the façade, ceiling and skylights of specially low-emission glass material with a low content of iron, which provides not only warmth but also excellent transparency and safety against contamination. At night the light also creates an unforgettable effect. The shine coming out of the church covers the whole square with a glow – turning it, in a symbolic dimension, into a glowing lantern of faith.

Interior decorations are limited to a minimum. In the architectural and doctrine concept the church was to be raw, bereft of excessive decorations and although a lot of time has passed since its consecration it is still untouched by the tendency of devotional decoration in the form of artificial flowers and images of saints. After nearly sixteen years it is still filled with the same spirit of aesthetics and purity.

Three years after the church was completed, in the year 2006 another work of Richard Maier was finished – created in the very heart of Rome, the Ara Pacis Museum. This time however, the work aroused much controversy while the architect was not able to convince everyone to accept his concept.

Also see: Virtual Tour, Church of Dio Padre Misericordioso